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ng  University 


Ace.       196685 

No 


t- 


GENERAL    HISTORY 


OF    T  H  S 


SCIENCE   and  PRACTICE 


O  F 


MUSIC, 


B  Y 


SIR       JOHN      HAWKINS. 


VOLUME     THE     THIRD. 


LONDON, 

Printed   for    T.    PAYNE   and   So n,    at  the  Mews-Gate, 

IViDCCLXXVI. 


•^'.v 


^^m 


GENERAL    HISTORY 


O  F 


M       US       I       C. 


VOLUME     THE      THIRD. 


A 

GENERAL       HISTORY 

O  F      T  H  E 

SCIENCE       and      PRACTICE 

OP 

MUSI      C. 

B  OOK     L  CHAP.      I. 

THE  foregoing  deduaion  of  the  hiftory  of  mufic  in  England, 
and  the  fpecimens  of  vocal  compofitions  above  given,  refped: 
chiefly  the  church- fervice,  and  bring  us  nearly  to  that  period  when 
the  Romifh  ritual  ceafed  to  prefcribe  the  modf*  of  divine  worOiip,  and 
choral  fervice  in  this  country  alTumed  a  new  form.  The  general  ha- 
voc and  devaftation,  the  difperfion  of  conventual  libraries,  and  the 
deftrudion  of  books  and  manufcripts,  which  followed  the  diflblution 
of  monafteries,  and  the  little  care  taken  to  preferve  that  which  it  was 
forefeen  would  (hortly  become  of  no  ufe,  will  account  for  the  diffi- 
culty of  recovering  any  compofitions  of  fingular  excellence  previous 
to  the  time  of  the  reformation  ;  and  that  any  at  all  are  remaining  is 
owing  to  the  zeal  of  thofe  very  few  perfons,  who  were  prompted  to 
collea  them  as  evidences  of  the  fldll  and  ingenuity  of  our  ancient 
churc(;i  muficians. 

From  hence  we  may  perceive  that  as  far  as  concerns  the  mufic 
of  the  church,  we  are  arrived  at  the  commencement  of  a  new  era  j 
and  fuch  in  truth  will  it  appear  to  be  when  we  come  to  fpeak  of  the 
reformed  liturgy,  which  though  it  was  fo  calculated  as  to  be  fufcep- 
tible  of  all  thofe  advantages  that  divine'  fervice  is  fuppofed  to  derive 

Vol.  III.  B  f^o^^ 


2  HISTORY    OFTHE    SCIENCE        Book  I. 

from  mufic,  can  neither  be  faid  to  be  borrowed  from  that  of  the 
Romifli  church  *,  nor  to  refemble  it  fo  nearl)?  as  to  offend  any  but  fuch 
«s  deny  the  expediency,  and  even  lawfulnefs  of  a  liturgy  in  any  form 
whatever. 

Thefe  reafons  render  it  necelTary  to  poftpone  for  a  while  the  profe- 
cution  of  the  hiftory  of  church-mufic  in  this  our  country,  and  to  re- 
affume  that  of  fecular  mufic;  in  the  improvement  whereof  it  is  to  be 
noted  that  we  were  at  this  time  fomewhat  behind  our  neighbours  ; 
for  till  about  the  commencement  of  the  fixteenth  century  it  does  not 
appear  that  any  one  of  the  Englifh  mafters  had  attempted  to  emulate 
the  Flemings  or  the  Italians  in  the  compofiiion  of  madrigals  ;  for 
which  reafon  the  account  of  the  introdudtion  of  that  fpecies  of  mufic 
into  this  kingdom  mufl  alfo  be  referred  to  a  fubfequcnt  page. 

In  the  interim  it  is  to  be  obferved  that  fongs  and  ballads,  with 
eafy  tunes  adapted  to  them,  mufl  at  all  times  have  been  the  enter- 
tainment, not  only  of  the  common  people,  but  of  the  better  fort: 
Thefe  mufl  have  been  of  various  kinds,  as  namely,  fatirical,  humour- 
ous, moral,  and  not  a  few  of  them  of  the  amorous  kind.  Hardly 
any  of  thefe  with  the  mufic  to  th^m  are  at  this  day  to  be  met  with, 
and  thofe  few  that  are  yet  extant  are  only  to  be  found  in  odd  part 
books,  written  without  bars,  and  with  ligatures,  in  a  charader  fo 
obfolete,  that  all  hope  of  recovering  them,  or  of  rendering  to  any 
tolerable  degree  intelligible  any  of  the  common  popular  tunes  in  ufe 
before  the  middle  of  the  fixteenth  century  muft  be  given  up.  The 
two  that  follow  have  neverthelefs  been  recovered  by  means  of  a  manu- 
fcript  formerly  in  the  colledtion  of  Mr.  Ralph  Thorefby,  and  men- 
tioned in  the  catalogue  of  his  Mufeum,  at  the  end  of  his  Hiftory  of 
Leeds  J  they  both  appear  to  have  been  fet  by  William  Cornifh  of  the 
chapel  royal  in  the  reign  of  Henry  VII.  The  words  of  the  firft  fong 
were  written  by  Skelton,  and  there  is  a  diredl  allufion  to  them  in  a 
poem  of  his  entitled  the  Crowne  of  Lawrell,  printed  among  his 
works.  Tlfe  latter  fong  is  fuppofed  to  be  a  fatire  on  thofe  drunken 
Flemings  who  came  into  England  with  the  princefs  Anne  of  Cleve, 
upon  her  marriage  with  king  Hen,  VIII. 

*  That  the  Book  of  Common  Prayer  hath  its  original  from  the  mafe-book  is  exprefsly 
denied  by  Hamon  L'Eftrange,  in  his  Alliance  of  Divine  Offices,  pag.  24 ;  and  the  pre- 
face to  queen  Elizabeth's  Liturgy  refers  to  the  ancient  fathers  for  the  original  and  ground; 
■t^eieof.  ^ 


Chap.  I.       AND    PRACTICE    OF    MUSIC. 


It.-,         ^         V    ff 


\— H    be  -1  fhrew    yoTi     by  my  j    fay  tberew'anton 


w 


A H    be  —  ftirew   yoxi     by  my 


fay 


i 


i 


-r-» 


Thcfe  Manton 


^ 


W 


i 


^^ 


f-?    a 


P 


P 


claries  be  nyce     al_.  _  -way      A_ 


-.  vent      a  -. 


^  vent  —     — 


:<   ^  I'  .1 


^ 


^ 


A- 


—  vent     a  — 


-vent-    ,  -     -    my 


^ 


i 


^s 


i 


clarks  be  nyce    al  ^  ^    way 


A— —vent     a vent 


.1-  I  -^    Vl"!^ 


^ 


2 


nothyng  but  I     plyy 


tally 

4. 


g^  '  .i  •  r'Et 


S 


PlOP'^.'i^yl ^•hat.^ilveJQ,,   ,u.thyr.gbut  I   yl„v         billy  ™Dy 


^ 


BS^ 


3E 


my    Popin  -  j  gj  what^il  ye        d o 


tiilly  vallv  fb'aw 


^,1   J I  ,1   J  j  p^ 


be    I    I  fay  gupj    chriftian 


:?=^ 


cl<jwte  giip 


-m~^-d-^ 


^E 


:^t 


JaV.  of  the 


JaX  oi  tne 


girp  chriftian  clowte 


HISTORY   OF    THE    SCIENCE       Book  L 


P-Tir 


y-TE 


r    '    J      ^ 


-#— ^ 


*^ 


•i — r 


vale    ^hnt 


manerly     I     Margerv 


my  lie       and   j    Ale     -v^hat 


+~T*-r 


I2E: 


je e- 


i^ 


-e?—^ 


HP- 


vale   -whati    mane^-V     .      Margery 

'    =     V,  i  • ! — ^-.1 — L. 


i      fl>     g 


-^- 


1      ti  »  \^    JL 


>*hat     nianes*ly        .  >Aysr^fcry         ^'•y*^'^        »»i<i  ATe 


]         maiierly     Margery-  j    manerly  ) 


^z=t 


manerly  i    Margery  |    i>->ylk  and 


f\  p-f  > 


^^ 


M 


Ale. 


S 


4—1 


S 


? 


^91 ^ 


4 — I- 


-! — y- 


k 


Margery 


mylk  and    Ale    what    Margery 


myllc  AwA  j     Ale  . 


#=i 


i*-?- 


f 


■0-0- 


I^ 


-i 0- 


mylk  and  Ale     what    manerly      Margery      myllc   and      Ale , 


^ 


5 


i 


i 


d  »   ai  I 


PAR 


II 


By  gode    ye 


be       a      prety 


pode 


I 


3 


■    p  p 


d  '  # 


By      gode  ye  be        a       prety 


)ode  and  I 


^ 


i 


And    I    love 


^^ 


^ 


^ 


1>— f- 


irrdve  Jamys  fodtrye  i  pLiy  the  fode 


I 


35=^ 


^ 


:iL-CV— *- 


love  you    an     hole    cart  f        lode 


ye       i^li^y  ^he  fode     | 


^^ 


± 


you         an      h(jle    cart 


E 


i" 


Chap.  I.       AND    PRACTICE    OF    MUSIC 


^ 


XZZi 


^^ 


1  fljpi 


^ 


? 


-I »- 


1 — T 


I    am  no   hwc^nie         for  your        rode  go  j  watch  a 


i 


^ 


bole  your 


f^-r 


£^^^ 


-h-a- 


P 


I        am      no  hacknie    for  your 


rode  go    watch  a 


bole  your 


^ 


m 


r*rin 


r^^ 


p 


bak     is 


brode 


^ 


Gup 


Jalc  of  the 


S 


t 


^ 


ak  of  the 


bale     is 


brode   Gup 


chriftian 


clowte     Gup 


^ 


^^ 


-f— r 


Gup      chriftian  clowte   — 


mylk  and  Ale    what   marerly     Margery      myik  and        Ale 


HISTORY   OF   THE   SCIENCE        Book  I. 


^^ 


now  fje 


fje 


O     -* 


fr:|j^  ^    ■  T^ 


l?y  Cl^rift  ye  ihyl  not 


iW'-|  Jii',-^  J  i'-|-  ph.!  Vf 


now  fye     fye  whatandyelhall  beirypi^siive 


■  <!■•  I  iTrh 


Q  '•<      O 


Tryyi^fiiye 


q*  p    g  Q    Q  ■  ■  l|apx 


^ 


nonoharae- 


-in^ 


XC 


Mhatandjefhall  benvypigsnje  mypi^fnye         niy  pife^  — 


f  ^rp  rn  ^ri  '^  " ' 


MviU  not  lae 


^ 


japed 


bo—  de] — ly 


^ 


^ 


it 


3C 


chrifViaii 


mHH  not  be 


jape< 


bo— de4--ly     Gap 


i 


±±: 


—  nve 


Gup      chriltian 


P 


Gup 


I 


e=;:v 


Jalc  of  the 


^ 


S 


P 


vale  what 


i 


Fri  rr:i  i  r 


manerly    j  Margery 


^ 


mylk  and 


-r-1^ 


clo'wte  gup 


Jak  of  the 


vale  what  manerly 


£=£ 


Margery 

I       i  — ^ 


rhat 


^^=*= 


clowte  —   —    — 


what  manerly        Margery      mylX  a::d 


Chap.  I.       AND    PRACTICE    OF    MUSIC 


Ale        itvjrlk  and  Ale   what  manerly  Margery   nvylk  and    Ale 


^ 


PART 


^ 


i 


€r—r 


^^ 


\ave  I 


Wallte  forthe^ourj    wav  ye  coft  me 


noiighte  now  have 


ig-T 


^^ 


I   c:^     >g 


^ 


re 


Wallce  for  the  your     way  ye  coft  me  noughte  nowhave  I 
I 


^ 


-I ^ 


S 


^ 


a  1  ■ 


found  that      I         have  iCiughte  thebeftchepej  fifcfhthat  e—ver  I    ! 


^a?=q 


5 


t=i: 


1 


•^f-r 


'i  r  n 


:5t 


■i^-^&- 


t=q: 


found  that  I  have  foughte        the     b eft  t hep e  fleihtiTtjt  ever  I 


^m 


^ 


:==^ 


yetforbysj     love  that!        all         hath  |  wrought  wed  me  or 


height 


HISTORY    OF    THE    SCIENCE       Book!. 


^^j^^^^^^T^^^g^ 


.^-yf- 


el^  I    cfye  for 


*f\>  \  cCve  for 


thought 


f 


K 


^ 


f  I  r-g- 


-rt- 


thought  gxid  chriinan '  clcwteyour 


f  I   I     1    » — I— « — j"  r — ~ 


g     *    !    q 


hroth  is 


~^^ 


l\ale  go 

-  Q      ^ 


!         I  ' 


Gay  chriilian  cl^^-^teyollr  broth  is    ftale 


^^ 


1 > . 1 H H 


±=i 


maiitrly  '  M-^rgery    '  myllc  audi     Ale 


-r 


1   "  r   F 


^ 


1       ra?aieriy    lMv>.rger;>'    |  "ly^l^   '*ndj    Ale    giip 


m 


;fEFr^ 


^ 


6"y 


chriftian     clo\s'te  gtrp 


3CS3K 


^ 


»  '  j 


^ 


f'Ttri  ^   '.-=^ 


m 


giip  chriftian       clowte—  — 

I 

i  ! 


i 


JaX  of  the 


vale  >vhat 


^ 


manerly    (jMarg^ery      my  Ik  and   Ale   ^hat 


^ 


^ 


Jak  of  the 


vale  \^hat 


i 


r  r 


1  *  ^  * 

maiierly     Margery 


£zt 


what 


TT 


^ 


m  aner  ly 


.^ 


jiBi  f •  f^  r  I  r  ^ 


what    manerly     Margery       mjllt  and       ATe 


y^     i     I  -A- 


=h^=t2 


manerly     j  Margery    |     rnaucrly 


:y— r- 


1-^ — Gb-.-#- 


Margery    j  mylk  and 


Ale      what 
V 


4      I      '     I 


Margery 


iioqc 


S 


mylk    and 


Margery  j  my  Ik  and 


w 


Ale. 


P 


s 


Ale. 


^S^^^ 


I      i>^ 


fei 


•nvlk  and   Ale      what    \T..irjerly       Margery     mylk  and        Ale. 

M'lLLlAM  C08KYSHE  JUN 


Chap.  I.       AND    PRACTICE    OF    MUSIC. 


^y 


■J   .U.I 


^s 


^s 


HOYliAYhoy-rday  JoUy  rutte..Xin  hoy-day  ho;y 


-  dwy    liVeaml  — 


°l|y|i:    -  ci 


^s 


^^ 


i 


* 


HOYDAT  hoY-dav 


Ji)lly  rutbfckinhoy  day  hoy-day  like 


..)=!!  =)      °    "^  I  °     J  J    [■  p 


^ 


i 


P 


HOYDAST  hoy-day  Jolly  rutte— Itin  hoy-day  hoy  -  day      like  a 


r^  O^ 


^ 


^ 


I 


^ 


te— Xin  hoy-da^? 


^ 


Hoy-day  hoy  -day  hoy   '  d'4^     hoy-  cfayL^L<iy  r 


#1 F  r 


i 


fi^ 


i 


M 


a  ruttekin  hoy j  ^  day 


^^ 


^ 


Hoy-day  hoy 


cty  hoy 


i 


q-TT 


#— "1^ 


*:<: 


rt»t—  te_kiii  hiy  -^ay       Hoy-day  hoy -day  luy*  —   dviy 


^S 


M=K 


^ 


? 


=±1 


hoy^y  hoy  day  like 


arxitte.kiii  hoy 


-   day 


3 


I 


^ 


^  dav  —  — 


^ 


^ 


^ 


hoy-day  h<i>  - 


# 


^ 


hty-day  h(y-day  htiy  -   day    hoy-day  like  anitte-kin  hoy  -    day 


1'      i     rtxtttkii)    hoy    -     day  hoy  day  hoy -day     hoy-day  hoy  ctiyh()ydj>' 

Vol.  III.  C 


10 


HISTORY    OF    THE    SCIENCE       Book  I. 


^~~0      ri     \ 


hoy-day  hoy -\  day 


^'  '^  =^       I  ^'  ^^g^^ 


rrro^v^^ 


^ 


Ruttfclcin   is    come  \.i.to  o-ir  |  to-An  In  a 


23 


^-r 


I 


boyd^y^oy    dvov.      H;;t^eicin  is     c  ^e  unto  cxir       town      In  a 


1113 


q     q     >j-j- 


g     a 


S 


-i'^^ 


:;z= 


*=fc* 


-I — ^— t- 


^ 


Cloke  withrtrcCciie  or  Go^nj 


^ g- 


C      d   -O: 


rn;  to  kv  -    -^er  hiSj 


ClokeAsithtut  Cote  orGc^n'      f ave  a    !  ^raggid  hocde  toikyverhib 


"    =  !    !    'I 


I 


^ 


=^=p: 


xzz 


?E 


Cloke without  Co tt  or  Go^Ti       f ave  a      raggid  hoode  to  Icyverhis 


i 


i 


^ 


# 


d  0  d 


CroMii  like  a 


ruttkin 


Hoy-dars'  hoyi-day  JoDy  rutte-  -kin  hoyday  hoy  ^ 


i 


^ 


gpQ 


^^ 


^^ 


Cro\ni      like 


a  ruttkin 


hoy  -  dak^  hoy-day 


Jolly  nittfckin  hcji 


^ 


i 


^ 


S 


q    o  Q  i-e 


i 


P 


Cro>*-nlikea     ruttekin     Hoy-da)- hcy-^i«y  Jolly  rxitr-s^kin  hty-dKy hey- 


i 


Er=^ 


ttirn^FFmt^ 


f 


day   like  a  rutL  te^Jdn  h«  y  da\j 

i — : — I        :  :    i-j-i— — -11 


H<  y-dj^y  hoy  I  day  hoy- 

i 


fc 


^^ 


^^g^i 


-day  hoy 


-dayh<y-diiy    like    a  nirttkirihov   -day   i 


S 


:^=a^ 


=tlrp 


F^SP^i^^^^^  r  [[[rl    ■<  ' 


Hoydrfvh«yi- 
4- 


p^o:-.: 


-  rtav    like  a    r  .c—tekinh  v  -  dav      Kiyd:n' h'y  dayhty  -  day 


Chap.  I.       AND    PRACTICE    OF    MUSIC. 


II 


# — » 


ho^xf^hoy  day  like 


^ 


"  day  —  ..  — 


^ 


m 


a  rntte-.Xin   hoy 


P 


^ 


^ 


^i 


^ 


hoy-day  hoy -day  hoy -day    hoy-day  like  a  rutte— kin  hoy  — 


3 


i 


m 


rut  t€ 


FF^ 


S 


# 


'  day 


like 


rut  te..kinh<Ty 


day 


hoy-day  hoy  — > 


m 


iQ*   * 


^ 


Q     q  > 


S 


?= 


hoy-day  hey 


^ 


-day  like 


a  rutte-.kin  hoy  -  day  hoy<£ay  hey  clay  hrydiyhny 


te 


0=5: 


^^ 


^3 


i 


Xn 


-day       •   like    a     ruttekin  hoy  —     day  hoy-day  hoy -day  hqy^Jtiy  f 


-  day  hoy-day  hoy  -  day    hoy    - 


a 


Kuttekin  ca 


m. 


ffTTf 


day    hoy    -,  day 


^m 


^ 


fpekfc  no  Eiig  —  - , 


^ 


s 


day 


-day  hoy-day      j  hiy-day  hoy^-j  d^ 


^ 


Ruttekin  can 


fpekbnoEng^  ^ 


^ 


m. 


hoy-day  hoy-day    hoy  day  hoy  —  day. 


-liftie 


his 


-lifhe 


q      f  F  g 


tong  renyth  all  on 


^ 


^ 


but^^d  Fifli 


be. 


:CL 


:s=^ 


be  fmcrde 


—  fmenCe^nlhgp'eie 


his  t(jng  reiyth    all     on     butfyrcf     Fi£h.        be,Aierc&i^it!i greed. 

C  z 


12 


HISTORY    OF    THE    SCIENCE       Book  I. 


Vr  ^  '*  ■ 

^-t I'      ■     !  ■ 


cliihe  liVe  a  r utt  .Y\i\  hoy-diy.  - 


i 


*!.  —    abouthis  difhe   a     bout  his 


^  ^    hoy  d<<y  i  JoBy  rutte-lein  hoy- 


hoy -day  hoy- 

iyTa  go    ! 


^^ 


^day         JoDyrutte 


^ 


difhe     like  a  riittkinhoyday— 


day  hoy-  day     like 


kill  hoy  day  hoy  day 


a      rnttekin 


like   a  nittei- 


t=a 


1-  —  hoy  day     JoBy  rutte-.ltin  hoy- day  hoy  -  day 


like  a   rtitte— 


il 


@ 


^ 


i 


2=31 


i 


hoy-day 


Hoy-day  hoy 


dsgrhoy^ 


-day     hoy  <f  ay  Lhtw- 


i 


g 


-day 


^3 


—Xin  hoy-day 


m 


Hoy-day  hoj- 


daj    hij^ 


-day     ho 


i^s 


-Clay     noy  - 


^^ 


P 


xt — r 


^k.in  hoy-day     Hoy-da)'^hoy-da)'^hi»y  -   day 


hoy<fayhoy^ 


(i 


p — •- 


f  If  pf 


■i  r  1 


^p 


^htjy-dayhcylday  like;  a  rutx^e^kin  hoy  U  day 


^ 


i 


^^=ip 


^ 


like     a 


ihp^fa^  h.  y 

!— "^     


I 


-  day    like 


P 


XC 


day  hoy -day    hoj-daylike  a  rutte-kin    hoy  -  day  like   a 


Chap.  I.       AND    PRACTICE    OF    MUSIC. 


13 


m 


^ 


m 


rutte-.lcin  hoy 


1       a  rxttte  -Xiii  hoy 


^ 


FF=» 


:Sk 


1— 


-  "  <Iay 


^ 


jzm. 


^ 


-  day  hoy-<{ay  hoy 


I 


hoy  -day  hoy 

I  I  i — t— 


»— 4. 


£ 


^ 


day  hoy  day  hoy 


JS: 


^3 


S 


day  hoy-dyy  h<  )y  •  d w  hoy-day 


^^i 


nrtteXin   hoy-     -  day  hoy-day  hoy  -  day     hoy-day  hoy  <Iay  hoy-day 


J  ,.l    J  .J 


^ 


Rutte  -  Itin  Ihall  "bring  yoii  iaU  good  1  iick  ^  — 


ii'i  v:f"  i!i 


hoy-day    hoy-  day        Rutte-kiufhallbringyou  all      good  -  — 


0\    Q 0 — Ot 


g 


P\     P   > 


i 


^ 


#=F 


^ 


ftoop  of 


Beer  up    at    a    plnlc  at    a 


^ 


fVoop  of  iBeer  up 


pliik     tip 


^ 


at    a 


^ 


£ 


i 


at     a 


plult  at    a 


pluk    up 


at      a 


^ 


luX    a    ftoop  of  Beer  up    at    a  pink  at    a     pluk  at   a      pluk 

JJrrrlTrfi.H|Jni-1| 


'o^^l     Tl 


pluk  till  his  i  Brain  be  as 


pluk 


2Xn 


:^ 


m^^ 


isfc  as  a  [dukasa   duk 


■      Q   Q 


m 


^ 


I 


tin  his  Brain  be  as 


^ 


* 


# 


Mile    as  a 


Xi: 


rn: 


-    -    tillhisBraiuheas  Mifc    as  J  .  1    a      duk 


as 


14 


HISTORY    OF    THE    SCIENCE       Book  I. 


m 


^ 


dulc  a     duk 


du\  a      cCxik 


SE 


^ 


qo  c^ 


i 


^ 


-e — 


^ 


^ 


li\esi    ri:tt-f-kin  hoy-day  hoy-day    Jolly  rnttekin   hoy 


lil;.e  a    rtxttXin 


1 f^^ 

hoy-d»y  h(>y 


^  '  o  '.y 


Q    o   o~^ 


^ 


-day  J()%rutte,_ 


Hl^'-  ^   i 


dtilt   like  a  nitt_kin  bw-day  hov-day     JoUy  ruttekin  hoy  - 


day  Jioy-day     like 


^m 


i    o 


likin  hoy-day  hoy-day 


"I'Tiil^    |;r' 


a   ruttekin  jhoy-day 

■  J.JJJIJ    I 


like  a  nitte-pdn  hoy-djty 


m 


I 


k± 


Hoy-day  hoyjday  hoy 


N^ 


-^ay  hoy  ^  day        like  a  rut-te-kin  hoy-day     Hoy-day  hey-day  hoy  - 


t 


rTT^TT- 


P   P  ^t 


dayi  hjoy-  {-day 


^ 


|hoy<fa)' hoyjday  like 


rutte- 


bt: 


'ay  hoy-  i-da\-    h.'Vjday  hoy  {  -  day 


n±^m± 


M 


-y^-r 


J— r 


-day 


^ 


hoy-day  hoy -day  hi y  -  day  hey  -day  like  a  riitte— 


2r: 


3^3 


iTt-tc-jXi:.  h>yi     -    day 


^kin  hoy,-   d^y  J-''-<-fc   ^ 


ii^i  ■  !M-n 


^ 


^p:.^^^ 


■h(A-d.v  hoy  I- day    like  I  a    rtitttr-^kii.  luy  -  day  "rioy-day  hoy 


r4: 


tX£ 


^^ 


I-ki:.     h<.^•    -    d. 


l;ke     a        ruttekin    hoy     -      d.n' h';>=-dicyh(y  — 


Chap.  I.       AND    PRACTICE    OF    MUSIC. 


^5 


xaocszt 


t'^aqi 


-taS- 


h««v-<f<\'hoy-davhov(i<?\  hoY-ci.^  h?  \  —  —  .    ri<vy 


C)     n< 


■53 


^ 


i 


f  <i^  ^V    e>    |h.^ 


^^ 


=^ 


divhoydav  —  -*.  —    hov-da-v     yiov-<i«v  hry  .;  dav 


^ 


s 


^^ htiiKi  UeJkiu from 


T'W 


^^ 


S 


1  day     hoy-day  hov day  htydiyh<^y day  hcA- -  day      Vhtn     RtittfcJkiii  fmm 


']>  M  g^ 


'■'  "^    '■'    I  '■]  ^ 


3=3 


I 


He  ^ill  pifs  a 


Gall(in  Ft       full  at  twice 


^ 


^ 


S 


SO 


oTTfc        JHt^mpifsa  Gallcn  Pot 


bordfcwill 


=1  ■  J  'I  J  ^^ 


fxill  at  twice 


^g=^ 


and  the 


^ 


i 


^fiftf-^ 


borde^^ill      rylc         He^iUpifsa  Gallon  PotftiH     at     twice       and  the 


^ 


^ 


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and  the;     over  4  —  pl-iJi  i  itr>— dtr  the 


Ta^  -hie 


Mil 


BSE 


|-^ 


yp^ 


,'er-i.pli;s 


of  the  new 


gTiife        !    of. 


r  f  f  r-:=g 


i 


s 


#-^ 


-1 — h 


fe 


over— plus   under  the    Tibbie    of  th':,new  guife  of  the  new 


^ 


fe 


^e=^ 


I 


of  the  new    i      gnife     I:Xr.  a         rutt-ldn    Ry-day  hoyiday  vJ'lly  nrtte^ 


HI  r  r  r  ii 


<i    i>  19  • 


the     new!       giiife         liX*; '  a    rvittXi:; 


Qt   f    P    ^  i^ 


H(  y-  dsr/  h'  y-cf.^y 

.L_L 


O         r,^     -■  O     -— ,-^ — |--^    O     Q    ;  O 


jCC 


T—Z 


gniie  -  -.    -.     —         liric  «..       r  .rt-.k:u  iri  A'dttj-  h ;>;/ day  J<  lly  riittc^ 


i6 


HISTORY    OF    THE     SCIENCE       Book  I. 


LJJ=M=^=^=^r^=^^^^^^^m 


—  Vin     h«;y-c{ay  hoy 


-  day     like  a  rut- 1^  -Viin  hoy -ddy 


i^^-^-V^ 


T r 


H(j-<£ayhoj 


lOt 


il^r^  a       ^  f^ 


JolK'  r  ittelcin  bojJcfaj  h<  \  v'hv     liV'      «  r'lttekin  ht^  J-day 


nx.--^ 


1 


^:?5:-:Eiiz$5^fe 


'?  J.J' 


s 


P 


'—kin    iioy-dwy  hoy    —    day      likt  v    rv-^t-:  kin  hey-day     H<)y<{ayhoy— 


idBm 


jzrr^t  r  «3i 


J — I    »  ^ — #. 

1 1   i.  f 


m 


i 


-  day  hoy  -  day     hoy 


diy.ho; 


^ 


dr 


^m 


3ZM: 


^=:^ 


hoy  day  hoy 


Tzac 


?* 


:i!= 


Hoy-d'.fy  hoy  day  hoy  - 


4==fc 


ia^ 


-  dav      hoy^dav    hov— 


^ 


av      hoy 


I 


—  dny-    _    . 


^ 


^d'dy  hty'  -  day 


hoy-day  hoy  —  day  hoy—  —  day     hoy  — 


i 


i 


•  I  P  F  • 


^ 


^ 


* 


^ 


-  day  likej  a  mtte-.kin  hoy 


-   day 


like   a 


rnttfc—  kin    hoy 


t 


t 


^ 


^ 


E 


f  r;ffr;4-^ 


hov-dayhy- day  like  I  a  rurte-j-kin  hoy 


fe 


? 


E 


day  like  a  ruUe-kin  hoy  -  day  like    a     ruttekm     hoy    -     - 


IffF^ 


-i — r 


>  r  #- 
^3: 


jjd f 


-  d^y  '■    li^O  '•{.-'/  hi  A -I  dy  hoy  day  ho>  j- day  iioy^   ^ 


day. 


^3E 


_i : L|      I      —\ ™4" — i 5? -1 


■**n — r 


j-e- 


-  day  hoy-day  hoynJay  hoy-day  htrY^daYh(y -v{y^        h^  y-day   lu  y   -  an 


^ 


^^s;i^  ■  I  "=1  —--[J 


i=?c 


-^6  \  q.  3 — c- 


""-  day  hr.y-dav  hoy  -  day       h(y-day  hf y-day h( .y<{ay  hvv-clay  h(>y-d     . 


Chap.  2.     AND    PRACTICE    OF    MUSIC.  17 


B 


C     H     A     P.         II. 

ETTER  fuccefs  has  attended  the  attempts  to  recover  the  mere 
words  of  thofe  fongs  and  ballads  which  fcem  to  have  been  the  de- 
light of  paft  ages.  By  thefe  whicli  follov/  we  difcover  that  with  the 
young  people  of  thofe  times  the  paffion  of  love  operated  in  much  the 
fame  manner  as  it  does  now  ;  that  our  forefathers  loved  ftrong  ale, 
and  that  the  efFed:s  of  it  were  difcoverable  in  efFufions  of  mirth  and 
pleafantry,  in  a  total  oblivion  of  care,  and  a  refolution  to  take  no 
thought  for  the  morrow. 

If  the  coarfenefs  of  the  raillery,  or  the  profanenefs,  or  indelicacy  of 
expreffion  obfervable  in  the  two  preceeding>  and  in  a  few  of  the  fubfc- 
quent  poems,  (hould  need  an  apology  for  inferting  them,  the  beft  that 
can  be  made  is,  that  they  prefent  to  our  view  a  true  pidure  of  the 
times.  Before  the  ftatute  of  James  I.  againft  profane  curling  and  fwear- 
ing,  the  profanation  of  the  name  of  God  was  fo  frequent  in  common 
difcourfe,  that  few  looked  on  it  as  a  crime.  When  Cox,  bifliop  of  Ely, 
hefitated  about  alienating  a  part  of  the  epifcopal  eftate  in  favour  of  Sir 
Chriftopher  Hatton,  queen  Elizabeth  difdained  to  expoflulate  with 
him,  but  fwore  by  her  Maker,  in  a  letter  yet  extant  under  her  own 
princely  hand,  to  deprive  him  if  he  perfifted  in  his  refufal.  In  the  earlier 
copies  of  our  old  Englifh  plays  oaths  make  a  part  of  the  dialogue,  and 
are  printed  at  length  :  in  the  later  editions  thefe  are  expunged  ;  an 
evidence  that  the  national  manners  have  in  fome  refpedts  improved  in 
the  courfe  of  a  century. 

As  to  the  other  objedion,  the  indelicate  ftyle  of  love  converfation, 
it  may  be  imputed  to  the  want  of  that  refinement  which  the  free  and 
innocent  intercourfe  of  the  fexes  in  the  view  of  their  elders  and  fupe- 
riors  neceflarily  induces,  not  to  mention  the  improvements  in  litera- 
ture, which  furnifli  the  means  of  regulating  external  demeanour, 
and  teach  us  to  diflinguiQi  the  behaviour  of  a  ruftic  from  that  of  a 
gentleman. 

In  this  refpedt  too  the  manners  of  the  prefent  have  greatly  the  ad- 
vantage over  thofe  of  pad  ages,  at  leaft  the  ftyle  of  court(hip,  which 
is  all  that  concerns  the  prefent  queftion,  is  fo  much  improved,  that 

Vol.  III.  D  per- 


i8  HISTORY    OF    THE    SCIENCE        Bookl. 

perhaps  there  are  few  gentlemen  In  this  kingdom  capable  of  writing 
to  a  miflrefs  fuch  letters  as  our  king  Henry  VIIL  in  the  ardour  of 
his  affedion  fent  with  prefents  of  fleih,  as  he  terms  it,  meaning  there- 
by venifon,  to  his  beloved  Anne  Boleyn,  a  beautiful,  modeft,  and 
well-bred  young  woman. 

Frorrl  the  above  particulars  it  may  be  inferred  that  the  poetical 
compofitions  of  the  period  here  alluded  to,  wanted  of  that  elegance 
which  is  now  expeded  in  every  thing  offered  to  the  public  view  ;  and 
as  a  few  of  the  following  are  deftitute  of  fuch  a  recommendation, 
this  circumftance  would  fupply,  were  it  neceifary,  the  want  of  other 
evidence  of  their  antiquity. 

The  follov/ing  fong  appears  to  have  been  written  in  the  time  of  one 
of  the  Henries,  and  feems  to  be  a  fruitlefs  prayer,  tending  to  avert  the 
confequences  of  indubitable  pregnancy, 

I. 

Witf^  a\i  tge  i)att  in  mp  Botip, 

^olB  jcntiU  ficHp  tiotonc. 
!H!ub  fiifc  ioa^  Core  afrapti, 
tlutJ  grieiiouffp  tsifmapcti, 

Witt)  parting  on  ^pr  goijunc. 
Ipr^t  htWn  itja.sf  fo  grctc, 
^pt  gotDnc  tna^  not  fete, 
for  forroto  tipts  fjc  ftUftc, 
$Cnb  fange 

5^otonc  KJeUp  tiotunc^ 

IL 
€i^f^  game  gotljc  aH  anipfc ; 
5(  iouiti  fo  XvtW  to  ftplTc, 
3i  tfjoiigljt  it  jop  antr  fcipffe 

<Zo  taiincc  in  cuerp  totone ; 
$0iit  ahTi^  antJ  tocH  atuap 
€ttat  ciicf  3!  ufpti  fncfjc  pKape, 
fee  not»  tuptfj  forrot:De  map  SI  ^^V^ 

XBQConz  iJcHp  ijoiune,. 

IIL 


Chap,  2.      AND    PRACTICE    OF    MUSIC.  19 

III. 

cEucirp  morning  ttlp 
Sl^p  (Icmahe  i^  ail  qmtic; 
gjt  SurtitSe  mc 
fuM  greuoufclp, 
IBitl)  fichncjsf  am  3  liounb  : 
<!5oti  anb  our  bictTpb  latip, 
Silnti  alfoc  goob  hing  ^ent^ 
J^mb  mc  fomc  rcmcbp 
'^o  hcpe  mp  ticllp  tiotDne. 

^otcne  tiotDne>  noto  jcntil  iiellp  botDnc. 

The  fimplicity  Is  no  lefs  remarkable  than  the  ftyle,  of  the  following 
dialogue,  which  feems  to  be  very  ancient. 

I. 
5J£>ctoarc  mp  IpttpH  fpngcc  ^pt  $[  pou  ticfirc, 
§c  tDrpnge  mp  l[janD  to  fore, 
51  prap  pou  tio  no  more, 
3tla^  tjierefor, 

§c  Ijurt  mp  KpttpH  fpngct^ 

II. 

It^jjp  fo  bo  pou  fap  ^ 
He  fie  a  toanton  map, 
i  bo  Iiut  \i)itf^  pou  plap, 

S^etoare  mp  IpttpH  fpngcr. 

III. 
^pr  no  more  of  fuclje  f port, 
for  3[  ijabe  Ipttpi  comfort 
<0f  pour  liptSer  rcfort 

iZo  l&urt  mp  Upttpll  fpnger. 

IV. 
fforfotl^  gooblp  mpllfcri^, 
5i  am  forp  for  pour  bifcaiaf : 
^iath  tojjat  map  pou  plcaief  ^ 

S^cUjarc  mp  IpcpU  fpngcr. 

D  2  V. 


20  HISTORY    OF    THE    SCIENCE        Book  I. 

V. 

fcrfottj  pc  tJC  to  Blame, 
25  \vi0  it  tuin  not  frame, 
^t  i^  to  pcuu  grcte  fjame 

Co  ifeurt  mp  IpttpH  fpnger. 

VI. 
€f)p^  tDa^  agapn  mp  irpil  ecrtapn, 
§et  tuolti  5[  !jauc  tJiat  gole  agapn, 
3por  31  am  forp  for  pour  3?apn, 

$5ctparc  mp  IprtpH  fpnger. 

VIL 
feeing  for  tf;c  taute  pc  fie  forp, 
3}  tDcIb  Be  slab  tDptlj  poii  for  to  marp 
^0  tgat  pe  ijuolli  not  oner  Jonge  tarrp 

Co  l)cU  mp  Jpttpil  fpnget?. 

VIII. 
3  fap  tuptrj  a  jopfuli  Ijart  agapne, 
€'t  ridat  3i  inoib  fie  fuH  fapn, 
^[nij  for  pour  fake  to  tahc  fume  jjapne 

Co  i]tU  pour  Jpttpll  fpnget.. 

IX. 

Cfien  tue  fie  fiotfj  agrecti 

31  prap  pou  fip  our  luetJ^ing  tucbe, 

^nti  tgcn  pe  ftiaH  liaue  IpttpH  netie, 

Co  i)dt  mp  Ipttpl  fpn0er> 

X. 
Cgat  2i  i»ill  fip  <^otJ^  grace, 
31  ffjaU  hplTe  pour  minion  face, 
Cgat  pt  iliaU  15pJ^^  i»  cucrp  place, 

^ntJ  §de  pour  Ipttpl  fpngc^. 

XL 
25ctoare  mp  IpttpH  fpngcr, 
%\a^  mp  IptfpU  fpngcr, 
^nb  olj  mp  Jpttpil  fpnger, 

m  Jatip  mcvcp  1  pe  (jurt  mp  IpttpiJ  fpngcr* 

Beaold 


Chap.  2.       AND    PRACTICE    OF    MUSIC-  zi 

Behold  the  fentiments   which  lloth,    corpulence,  and  rags  have  a 
tendency  to  infpire,  in  the  following  ftanzas. 

I. 

31  cannot  rat 
^m  Ipttpl  meat, 

<a^p  ftomacft  p|f  not  ffoob ; 
525ut  face  21  tljinfe 
€f|at  3!  f^"  tirpnfte 

mitfi  anp  tijiat  iuetc  a  |)otie* 
^fjouglj  31  go  Jjare, 
^ahe  pe  no  care, 

31  am  not jjing  a  colti ; 
35  (lufB  mp  lEfftpn 
J)0  full  tDitiJin 

<Df  jolip  gooti  ale  anti  oltt 
^ath  anb  fptic^  go  fiate, 

^ot|)  fote  anti  6anti  go  colbj 
Slbixt  fiellp  (^ob  fcnb  f^cc  goob  ale  pnougft, 

31^jiet|)et  it  6c  nctD  oc  oiilb, 

11. 
31  loue  no  roCf, 
25ut  a  nut-broiun  toffc, 

5llnb  a  ctati  laib  in  tf^t  0rc, 
^  little  Iircab 
Jytjall  bo  me  iteab, 

^iitf^  fircab  %  not  befite ; 
1^0  fcolf  nor  fnotD, 
l>o  tninbc  g|  trotu 

€an  ljurte  me  if  3!  UJolbe, 
g[  am  fo  tncapt, 
3finb  tftrotDlp  lapt, 

<Df  Jolp  goob  ale  anb  olb. 
S>aclt  anb  fibers?  go  Itare,  ^c. 

III. 
5Cnb  €il3  mp  Inifc, 
Cljat  ajsf  l}cr  life, 

%tmth  tjucll  goob  ale  to  fccri, 

full 


42  HISTORY    OF    THE    SCIENCE      Book  L 

2lr"n  oftc  trrir.Rf^  ffjet, 
(^Eiill  pc  map  fee ' 

€t'C  ttatc^  run  tioUin  S^r  cgcefec  > 
'^i[jcn  tiotli  IJe  troitjJe 
^D  me  tl)t  liotDle,  * 

<i?iun  Hjsf  a  mault^luorm  -f  fjiuKts ; 
5llnti  fiutfj  ftuect  fjcait 
25  toolt  mp  part 

a?'f  tJjijBf  jolp  0ooti  ale  anb  ol[ti, 
22>acii  aiiD  ribf  ^  go  bare,  ^c. 

IV. 
li^olD  let  tldem  Drinfe, 
'CilJ  tljcp  noti  anti  luiiilfe, 

(0uen  a^  gooti  feJIotoiSf  (Joulti  ^o, 
(^fjcp  fgal  not  miJTe 
^0  Jiauc  tl)t  iJliiTe 

^J?ooti  a!e  tjotfj  liriitg  men  to  : 
5Bnb  all  poor  fou!]^, 
(^Ijat  fjaiit  fcotDrets  l&oulc^, 

<Dr  IjaVie  tljem  UiffeJp  trolDe, 
(giotr  fane  tJ|c  iiue^^ 
oBf  tfiem  anti  tf^tit  toiue^, 

31^f>etficr  rgep  fie  poiinj  or  olti. 
25ach  anb  fibe^  50  liare,  ^c.  t 

In  the  following  the  praifes  of  meek  Miilrefs  Margaret  are  cele- 
brated by  her  lover. 

I. 
0^arjjatet  mefte, 
IBJom  5[  noto  fehe, 
€ljerc  ijsf  none  iphe  %  bare  toell  fap  ; 

*  Trowle,  or  Trole  the  Bowl,  was  a  common  phrafe  in  drinking,  for  pafling  the 
veflel  about,  as  appears  by  the  following  beginning  of  an  old  catch  : 
Trole  trole  the  bowl  to  me, 
And  I  will  trole  the  fame  again  to  thee. 
And  in  this  other  in  Hiltons's  colledlion  : 
Tom  Bouls,  Tom  Bouls, 

Seefl:  thou  not  how  merrily  this  good  ale  trowles  ? 
f  Mault-worm  is  a  humourous  appellation  fora  lover  of  ale  or  llrong  drink. 
J  This  fong  is  to  be  found  in  the  old  comedy  of  Gammer  Gurton's  Needle,  which  was 
firft  printed  in  1551,  and  is  even  now  well  known  in  many  parts  of  England. 

^0 


Chap.2,       AND    PRACTICE    OF    MUISC.  23 

^0  manerlp, 
d8o  ci«:tefl|t, 

ir. 

3CIa^  31  ittotc  not  to^^rc 

3t  go  or  ftonij, 

3f  tfipnft  mc  ]&ontr, 

3(11  fc  in  lonti 
/^o  comfort  geir* 

III. 

ipcc  ](u0p  cgcre, 

^ct  cpcisf  mo0  dere, 

91  fencto  no  j>ere 
3[n  Ijcc  Dcaute ; 

^otS  €at0  anti  2S>eiSf, 

sa^aUjtie  anti  3Cnfisr, 

cf>p^  iisf  tDitncQs? 
45f  6er  fetpfnelTe* 

IV. 

St^p  Sl^argarct 

31  cannot  mctc, 

3fn  fcelti  nc  firctc, 
Eaofull  am  g[ ; 

Kcuc  iouc  tfjiiSf  c|&ance, 

four  cficrc  aiiance, 

^nti  let  n0  tiance 
•  fcrh  mp  Satip  */ 

A  lover  fympathlzes  with  his  miftrefs,  who  is  fick  and  ill  at  eafe, 
In  thefe  lines  : 

f  Probably  the  name  of  fome  dance-tune  noxr  forgotten, 

I. 


44 


HISTORY    OF    THE    SCIENCE       Book  I. 

I. 
^^me  i0  tiht  anti  i\\  at  cafe, 
31  am  fuil  for?  foe  gifjone'^  tiifeafc; 
2\ah  goob  gi^onc  tDfjat  map  pou  pleafe  ^ 
31  (^alJ  Srarc  tfie  coli  fie  fUJCte  fcnt  tZ^enp.^. 

II. 
^Ijc  i^  to  pttt^  in  cucrp  tcgrc, 
<5j5ooti  lorti  liJjjo  map  a  gootiUpct  6c 
5[n  fay30Ufc  anb  in  facion  \o.  UJiU  pc  fc, 
S^m  it  ItJcrc  an  angcH  of  tfjc  €rinitc. 

aiafe  ffoob  Sjijonc  tofiat  map  pou  picfc  ^ 

31  ft)al  ficarc  tgc  coft  6c  fUJctc  fcnt  5^cnp^. 

III. 
^ct  cDuntpnamtcc  toirfj  i&er  Ipnpacion, 
/oro  Spm  tfiat  toolbc  of  fucD  recreation, 
€|)at  <^oti  Ifjatfi  ocbcnt  in  (ji^  fitft  formation, 
j^t^pgjt  ttjcl  6e  tallcb  conjuration. 

2tlah  goob  5[f)onc  Vogat  map  pou  ??Icafe  ^ 

3!  (Jal  6care  ti)c  toft  6c  fltjctc  fcnt  5^cnp^» 

IV. 
^8c  i^  mp  Iptcll  prctp  one, 
asjjat  l?)ulbc  31  fap  ^  mp  mpnbc  i^  gone, 
tee  t|)c  anb  gi  tocrc  togctjir  alone, 
%  mi^  ii\t  toill  not  0pbc  mc  a  6onc, 
%W  goob  gilionc  fjiaU  aU  mp  mone 
2S>c  loft  fo  fone  ^  * 

V* 
g[  am  a  foKe, 
aic\jc  tgi^  arrap, 
SCnot^cr  bap 
U^c  ftiaKl  6ot8  pKap, 
Jl^licn  tuc  arc  folcf* 
The  three  following  fhort  poems  exhibit  a  pi^urc  of  the  deepeft 
amorous  diftrefs. 

*  i.  e.  treat  me  with  contempt.  +  Together  or  by  ourfelves. 


Chap.  2.    ^  AND    PRACTICE    OF    MUISC,  25 

l^abc  31  not  taiitc  to  inourii,  ala.i^  ' 

€bcr  WjiU^  t{5at  mp  ipfe  tio  tare ; 
lamenting  tfiujef  mp  forrotoful  cafe 
3in  fi0f)c^  trccpe  toitfjout  rccurc  ^ 
IfJotu  remcmliirpng  mp  fyuti  ahncmme, 
Cl^crucIIouilp  mahpng  mp  fjart  too  : 
51HajSf !  i)ct  \oUt0  fftiiit  pcrfcti  me  fo ! 

J.ati  i^  Sei:  cgere  toirli  color  cijrpltpnc, 
St^ore  faprer  of  lofte  t§an  fapcr  €fpn, 
<fEpe>^  grap,  cicrct  tgaii  colmnfipnc, 
j^cuei*  a  ftDctcr  of  nature  fempnpnc ; 
<lBootiIp  in  port,  <0  UJljat  a  paftpme  antr  jop 
^ane  %  togcn  $[  fiegolti  ger ! 


uaofuUp  opprelTcti  itjptft  forroto  ant»  papne, 

31^ptll  fpg^ing  mp  Ijart  anb  Iiobp  in  tJiHrrefi^, 
^reuouffp  tormenteti  tgrougl^  tiifbapne, 
lachpng  tje  companp  of  mp  (atip  anb  mpfirc^, 
3BJ)pc][)  to  atapne  i^  pet  remeliplc^ ; 
25ut  <Soti  of  8i^  grace  furelp  me  fenli 
•ar^p  forrottJjgr  importunate  jopfuUp  to  amentJ. 


3!^  it  not  fure  a  bcblp  papne, 

'Zo  pou  31  fap  tfiat  Jouer^  fie, 
Wi^cn  faptriful  i^art^  muft  meh^  refrapn 

€fie  one  tge  otjcr  for  to  fee  ^ 

5(  pou  afTure  pe  map  trufir  me, 

<©f  all  tJje  papncisf  tliat  eucr  3!  fenctu, 

5jt  ij9f  a  papne  tljat  mod  g|  rctoe. 

The  following  trim  ftanzas  exhibit  the  portrait  of  a  loyal  lover. 

I. 
0j^5[Iap  jefleppnge, 
5|n  breme^  ffetpnge, 
(Eucr  mp  ftoetpng 
g[isf  in  mp  mpnti ; 
Vol.  III.  E  Mc 


2^  HISTORY    OF    THE    SCIENCE       Bookl. 

fDitJi  Iocfe0  fo  loudp, 
€ljat  no  man  trulp 

^ucft  one  can  fpntr^ 

IL 
^cc  ficixjtp  fo  pure, 
5[t  tiotfi  untiec  lure, 
^It^p  pore  fjart  full  fure. 

5[n  gouernance; 
€f)erfor  noto  topll  g[ 
Hnto  lipr  appip, 
51lnti  euer  iuiil  crp 

5for  rememtiraunce*. 

III. 
!^et  faper  epe  perfpng, 
a^p  pore  Ijart  liktipng, 
5llnt!  51  aBptipng, 

3In  liope  of  metie ; 
2&ut  ti)uj^  Ijabe  5i  long 
Cntunpti  tfji^  fonge, 
3©ptl[)  papnejgf  fui  (tron0e> , 

5ilnti  cannot  fptSjc 

IVo 

31lia^  UjpH  not  (§e 
l^oiu  fj)cia  i^prpptpe, 
$5ut  t§u#  lopH  tahe  me 
3[n  fucifjc  bpi^bapne ; 
0Bet{)pnhct{j  3[  Ujp^, 
Unhpnbe  t^at  ^e  i^, 
€Sat  fipntictl^  me  t!)ujsf» 
gjn  fuclj  garb  papne- 

V. 

/^fiouglj  ff)e  me  iipntie, 

net  (f)all  (f)e  not  fpntie 

a^p  pore  Ijart  unhpnti, 

^0  tD^at  fje  can , 


Chap.  2.       AND    PRACTICE    OF    MUSIC.  27 

for  %  topH  Spi*  prap, 
t^ljilei^  31  !fuc  a  bap, 
jH^e  to  tahe  for  ape, 
foe  gpr  oUJiie  main 

The  following  is  the  expoflulation  of  a  lover  difdained  by  his  mif- 
;trefs,  in  a  ftyle  of  great  fimpllcity. 

1. 

Complapn  3  map,  ► 

%\\tx  rigldt  tDcll  Tap, 
Houe  gotlj  a0rap, 

311nti  iDaitetJ)  luilbe ; 
3For  maiip  a  tiap 
Houc  toa^f  mp  3?rap, 
St  topil  atoap, 

S  am  fiegplbc* 

H. 

%  ][iauc  tl[)anMe39f 
,i§>5ent  mp  fetupce, 
iHlnti  can  jiurcfjcisf 

1^0  grace  at  all ; 
ai^ljercfore  tioulitlefia^, 
^i\t\^  a  mpfirrejs?, 
^ame  3i^itcle^, 

%  map  ^tt  calL 

III. 
for  fifecrip, 
€i[|e  more  tftat  % 
<©n  6^r  tio  trp 

4Dn  me  to  tjinfee  5 
^fje  IclTe  mercp 
%n  ^cr  fpnti  S» 
SlJa^  a  tipe, 

ift^p  jjart  tiot j)  fpitfte. 

E  2  IV. 


28  HISTORY    OF    THE    SCIENCE        Eookl. 

fortune  pactjpc, 
^fcinet^  mc 
^uci)  tmdtc, 

<|^tX30][)t  not  to  iJc, 
51  ttoi>sf  pitcc, 
(D  Ifiamc  to  fee, 
51!  man  fo  fpilt. 

V, 

for  mji  goot  tupU, 
3(  tJipnhe  gret  ilj, 

^gapnfr  aU  tpgljti 
5[t  i^  more  ill, 
^^e  f^jiilb  me  hplJ, 
ll^gom  gi  lone  tt^ii, 

IBprg  aiJ  mji  mpglit. 

VI, 
55ut  to  e):$»rc(re 
05  p  l^eaupne^, 
^ptfj  mp  ferupce 

5[^  tlju^  forfafec  I 
3n  comfortto, 
ai^ptfj  mucl)  tspffrei!?, 
g;n  tupJbcrneiS?, 

51  me  &etahe» 

VII, 
%nt  tl^n^  abetue, 
5^cr|)  tiot^  enfcl25e, 
ll^ptljout  rcfcue, 

^ct    *    *    *    * 
g[  troto  a  SiCtu 
(©n  mc  tjolti  rcto, 
^^notoing  f^oto  treta 

^6at  g[  ija^c  ]&en^« 

The 


Chap.  2.       AND    PRACTICE    OF    MUSIC.  29 

The  two  following  are  alfo  of  the  amorous  kind,  and  are  of  equal 
antiquity  with  the  reft. 

I. 
%f^  mp  ftDcte  ntjctpng  I 
<^p  Jptpl  pcctp  ntJctpng, 
sa^p  ftoctpng  topi  3  ioue  ttj&crcucr  3[  go ; 

J>f}c  i^  fo  propci:  anti  pure, 
fuH  (tetifanr,  nabili  anti  ticmure, 
Cjjcrc  i^  none  fiicJj  pc  map  6c  furc, 
2Ci3f  mp  fixjcte  ftoeting. 

II. 

2f n  an  t'^i^t^  itjoclti  a^  tf^ynftc t|)  mt, 
51^  none  fo  plefaunt  ro  mp  epe, 
/^{lat  0[  am  glati  foo  ofte  to  fee, 
5£.s3f  mp  ftDcte  DJjetpng. 

III. 
^f^tn  g[  fiefiolti  mp  ftpetpng  fUJete, 
^er  race,  Sec  fjanJJii,  Iftcc  minion  fete, 
Ctiep  feme  to  me  t^ere  i0  none  fo  mete, 
5(1^  mp  ftoete  fmetpng. 

IV. 
^ftoue  all  otlier  prapfc  mullr  % 
^ntJ  lone  mp  prettp  ppgfnpe 
for  none  J  fpnli  fco  Vuomanlp 
^^  mp  ftuete  ftoetpng* 


I. 
W^at  meaned  tljou  mp  fortune, 

5rrom  me  fo  fall  to  fipe  i 
Sla^sf  tljou  art  importune 

€0  toorlie  tj^u^  e ruellp. 

II.    €^TX 


5©  HISTORY    OF    THE    SCIENCE       Book  I. 

II. 
iZ^vi  imtit  contiimaHp 

MjCiW  caufc  mc  call  anb  crpc ; 
Woo  itJortJ)  t(jc  tpme  tljat  2 

€"0  iouc  tjpti  rpcd  app!p» 

The  following  is   the   dream   of  a  lover,  taken  from  Mr.  Tho- 

re%'s  iMS. 

J^citebicitc !  iDfiatc  tircmpti  3?  tljiis  npgljti 
flr^ctpugljt  tijc  iuodiic  img  tunipti  up  fo  tiotunc, 

<^fjc  Ton  iljc  niDonc  pti  ioft  rfjcr  force  anb  ipfjc, 
'^'^c  fee  alfo  ticotuncti  &otl)  tourc  anti  tolnne : 

f  et  more  nicnicH  {joto  ttjat  5[  tiarb  t(je  foimtjx 

€)f  onpiaf  uopce  faping  bcic  in  tfjp  mpnti, 

€6i  iatip  l^atl)  forgorcn  to  ht  ftpnb. 


C     H     A     P.  III. 

THE  two  following  fhort  poems  appear  by  the  manufcript  from 
which  they  were  taken  to  have  been  compofed  about  the  time  of 
Henry  VIII.  they  were  communicated  by  a  very  judicious  antiquary 
lately  deceafed,  whofe  opinion  of  them  was,  that  they  were  written 
cither  by,  or  in  the  perfon  of  Anne  Boleyn  j  a  conjedure  which  her 
unfortunate  hiftory  renders  very  probable. 

I. 

t^cfilei)  i^  mp  name  fuli  fore, 

'^lirougl)  cruei  fppte  anb  falfe  report, 
€I|at  g[  map  fap  for  cucrmore 

f  arelrell,  nip  jop  !  abetoe,  comfort ! 

II. 
for  Itirongfullp  pe  jubge  of  me, 
Hnto  mp  fame  a  mortal!  luountie : 


^ap 


Chap.  3.     AND    PRACTICE    OF    MUSIC.  31 

^ap  tdgat  pe  IpR  it  ^s^i\i  not  6e, 
f  e  fecl^  Cot:  tl^at  cannot  l&e  fountr. 


I. 

^  5^cat9,  tocfte  me  on  titpt, 

JlB^ringe  mc  on  quiet  tefie, 
Hct  palTeinp  ucrpe  giltJcfjSf  goDie, 

<0ut  of  mp  carefuil  fireft ; 
/^o!l  on  tfie  palTinge  fiell, 
iHinge  out  tje  UolcfuH  ftnelf, 
fKet  tf^t  founte  mp  tret jje  teiJ, 

for  3[  mufi  tipe, 

€fiere  i^  no  remetip, 

f  ot  noto  31  tipe. 

09p  papnejef  tnfjo  can  erinre^  f 
3llla^  !  tliep  ate  fo  firronge, 
5ligp  tiolor  tnill  net  fuffer  (Irengtfr 

Jtt^p  Ipfc  for  to  prolonge ; 
(€on  on  tge  paffiinge  bell, 
Klinge  out  tifte  boiefull  Itnell, 
%tt  tf^t  fcunti  mp  bct|)e  tell, 

foe  5t  i^w^  ^P^» 
/^Ijere  i^  no  remebpe, 
for  noto  31  tipe. 

III. 

3IlIone  in  ^rifon  (tronge, 

3i  iuapie  mp  Uentenpe ; 
Wo  toottlj  t?)ii9f  cruei  jjap  tjiat  %' 

^ijoulti  taac  tlji^  mifetpc. 


,32  HISTORY    OF    THE    SCIENCE       Book  I. 

(ZoW  011  tjjc  pairiii^e  Mh 
Hinge  cur  tt^t  tiolcful  hndl, 
31  ct  tijc  fountic  mp  tJCtgc  tcH, 

Clici'c  i-gf  no  rcmctip, 
for  notD  3[  upc* 

f  nrclticn  mp  picafurcisf  pailf, 
ll^clcuni  mp  prcfcnt  papnc, 
5!  kit  mji  torment^  fo  incrcCc, 

€f^Cit  l^fe  cannot  rcmapne* 
Ccafc  ncttJ  tljc  palling  ticJJ, 
ilong  i.^  mp  bolcfui  ftncll, 
foe  t|je  founb  mp  tctlj  tiotj  ttW, 

tDct^  liotf)  tiraltJ  npc, 

J>ount!  my  cnti  Dokfudp, 

f  ot:  notu  %  tjpc 

The  following  not  inelegant  ftanzas  feem  to  have  been  occafioned 
by  the  marriage  of  Margaret  the  daughter  of  Henry  Vlh  to  James  IV. 
king  of  Scotland,  in  15025  of  whom  it  is  related,  that  having 
taken  arms  againfl  his  own  father,  he  impofed  on  himfelf  the  volun- 
tary penance  of  continually  wearing  an  iron  chain  about  his  waift*. 

I. 

OD  fapcr,  faprc(t  cf  cuccp  faprc, 
^rincc^  moRc  jrlefaunt  anti  ptuiatty 
^f|c  Uiftieflr  on  Ipiic  tpt  "btnt, 
mtlaim  of  ^cotlanti  to  6e  qucnc. 

*  Buchanan  relates  that  in  the  reign  of  this  prince,  viz.  in  the  year  1489,  was  born 
in  Scotland  a  creature  refembling  a  man-child  from  the  navel  downward,  but  of  both 
fexes  upward.  By  the  fpecial  order  of  the  king  it  was  educated  and  inflrudled  in  languages, 
and  in  mufic  particularly,  in  which  it  arrived  to  an  admirable  degree  of  fkill.  ^  This  crea- 
ture, as  it  had  two  diftincl  bodies  upwards,  had  alfo  feveral  wills  and  appetites,  the  one 
body  often  adviilngand  confulting,  and  at  other  times  differing,  and  even  quarrelling,  with 
the  other.  It  lived  twenty-eight  years.  Buchanan's  relation  is  founded  on  the  teftimony 
of  many  honeft  and  credible  perfons  living  in  his  time,  who  he  fays  were  eye-witnefles  of 
this  proiligy.     Rer.  Scot.  lib.  XIII. 

11.  fonff 


Chap»3.      AND    PRACTICE    OF    MUSIC.  33 

^0110  tttit^tt  plant  of  pulcficitutie, 
5^cftcntiir8  of  imperial  filootr, 
f  rcfj)  fragrant  ffotocr  of  faprefjobe  t^tne^ 
^clriim  of  ^corlanti  to  bt  (juene, 

III. 
^Wtt  lufip  imp  of  Detotie  cicrr, 
St^oKc  wigljtp  fting^  totDgfjtcr  ticre, 
25orne  of  a  prince^  molt  fercnc, 
It^elcum  of  ^cotJanttto  he  qmnt* 

IBcIcum  tge  rofe  Iiotfi  rctr  anb  tofjpte,. 
U^cJcum  tl^c  ffotDcr  of  our  tidpte, 
<li)ur  fpirit  rejoicing  from  tlje  fplene, 
liaelcum  of  ^cotlanti  to  lie  qntm* 

The  two  following  fongs  are  more  fententious  -,  the  firll  is  a  fort 
of  caveat  againft  idle  rumours.. 

I. 

Confitiering  tgi.^  tDorlti,  anb  tfi'  increfe  of  bpce, 
<i^trichen  into  tmmp,  rigfjt  mucfi  gi  mufcti^ 

(Orpt  no  manner  of  man  ht  fjc  ncuer  fo  topfe, 
from  ail  fort^^  thereof  can  Dc  ejccufet>»  u 

II. 
3ilnti  one  \i^tt  tijcre  i^,  tl[)c  more  it  i0  ufeti 

!ui9o  inconuenicn^  (Jail  grotu  bap  lip  bap, 
^Cnb  tliat  i^  tgiisf,  ict  it  tic  refufeb 

(<5cue  no  fure  crcbenjgf  to  cuerp  IJerefap. 

III. 
BTpljt  toomcnis^  tljouglbt^  tupU  runne  at  farge, 

HDJetljcr  tlje  taplc  lie  faife  or  jutt ;  ^ 
(Cpbpngise  of  akJjonfe  or  c^Braucfenb  targe, 

fDerc^iiaptingiSf  or  liarticrjJ  (fiopeisf  t0  not  to  truft. 
Vol.  IIL  F  1^- 


3^ 


HISTORY    OF    THE    SCIENCE      Book  L 

IV. 
^n  enemies^  u\n\c  i^  fonc  bi^ruJ?, 

f,ic  n^nn  pcrccuc  it  ^avUjali  aVm^w 
Co  ail  tljc  forcfapts  rcfiM^n  U3C  aiul!, 

(^0  u^nc  face  ci'cbcii.is  to  ciici-p  gcrcfv^'^n 

V. 
€|?oi!0!j  f|ci*cftVji  he  v:c\B,  a:^  pcrcljaimtc  nu^  fall, 

fict  f^a*  not  tt)^  crcDrn^  ro  fiiglj, 
I^nt!  tfioug^  tljc  tdkr  fccm  riglit  fuBrjantial, 

^tnti  tell  hm  Ijcrcfap,  iBgp  map  Ijcnot  !pc  ^ 


VI, 
Cfjcn  licttuprt  !p0fjt  crc^cn.i^  anb  a  tcngc  idaKp, 

^urclp  t^e  spJtic]3f  i^  caf!  aluap, 
ContJcmpnpn0  tljc  a&fciit,  tfjat  i^  unbJoctfip, 

^0  pafTptlj  a  Ipfc  from  jicrcfap  to  Ijcrcfap. 

VIL 
^oot!  Horb  !  liottJ  fome  lupU  tepttj  a  lou^  uopcc, 

€:cn  a  taic  afrcc  tlje  ftcft  forte, 
5Cnti  fome  (jcrer^ef  ||oU3  tljep  tupU  tcjopcc, 
^0  gerc  of  tficpt  nepbour^  ill  rcj^ort ! 

VIII. 
^^  tliougf)  it  liJcce  a  matter  of  comfort, 

jpcrein  our  cfiarite  botf)  bchap, 
^ntJ  fome  mahetl)  it  but  game  anti  fport, 

(Co  tell  a  Ipe  after  tfje  fterefap. 

IX. 
€eli  a  goob  taKe  of  45oti  or  fome  fapnt, 

d^t  of  fome  mirahei^  latcip  l3onc ; 
^ome  toJpU  tJcieue  it  Ifiarti  antJ  0ent, 

%\\ti  talftc  it  after  a  full  Jpgijt  facpon: 

X, 
mt  ficre  fap  ^Ttjrift  fuffriti  paition, 
3llnti  man  ijall  reiiert  to  eartlj  anti  cKap, 


€9e 


Chap.  3-      AND    PRACTICE    OF    MUSIC.  ^5 

€fjc  rpcficfi  or  Ofrongcfir  hnoto  nor  Ijohj  foone, 
25deiic  tucll  noto  tgi^,  foe  true  i^  rljat  §crcfap. 

This  that  follows  is  a  dialogue  between  two  lovers,  in  which  there 
is  great  fimplicity  of  llyle  and  fentiment,  and  a  franknefs  difcover- 
able  on  the  lady's  part  not  warranted  by  the  manners  of  the  prefent 
time. 

I. 
[He]  sr^p  Jiart^  lunf  ant!  aU  mri  plcfarc, 

3^^  gcucn  Ujgcrc  g[  map  not  tahc  it  agapnc. 
[She]  5^0  pou  repent  ^  [He]  il^ap  g[  mafte  pou  fure, 
[She]  |05at  i^  tf^t  caufe  tgen  pou  Do  coiiiplapne  ^ 

~    II. 
[He]  5!t  picfptfj  mp  Ijart  to  tf)ciD  part  of  mp  papnc, 

[She]  €o  lufiom  ^  [He]  to  pou  [She]  plcfc  tgat  iDpi  not mc; 
$^c  ail  tl^cfe  iDottf^  to  me,  tl^ep  6c  in  iJapn, 

Compiapn  tojjerc  pou  map  l^auc  rcmetip. 

III. 
[He]  gf  tio  compiapn  an!)  frnb  no  relcilTe. 

[She]  f  ea  tio  pou  fo  ^  gj  prap  pou  tcif  me  Ijoto. 
[He]  a9p  Kabp  ipfl  not  mp  papnesf  tp  rebreiTc. 

[She]  ^ap  pe  fotl)  ^  [He]  |;tea;  3!  "f^iftc  v£5o&  a  tjotuc, 

IV. 

[She]  naijoi^  pour  latip^  [He]  gj  put  Ctife  pcu. 

[She]  mf^o  gi  i  nap  Be  fure  it  i^  net  fo. 
[He]  In  faptli  pe  &e.  [She]  lt3!jp  tfo  pou  fluere  ndlD  f 

[He]  3jn  0oot!  faptfj  %  iouc  pou  anti  no  mo. 

V. 
[She]  ^0  mo  But  mc  ^  [He]  |Do  fo  fap  % 

[She]  ^ap  3  pcu  truft  ^  [He]  |ifa  31  imht  pou  fiu-c; . 
[She]  gi  fere  nap.  [He]  f  e-^,  gfffjan  tcU  pou  tuf)p. 

[She]  (^cH  on  Icr^  f)fre.  [He]  f  e  gaucmp  iiart  in  cure. 

F  Z-  Vk  [She] 


34  HISTORY    OF    THE    SCIENCE       Book  I. 

VI. 

[She]  four  Jart  ^  nap»  [He]  fcjef  hJitftout  mcfure, 
31  to  pou  iouc.  [She]  31  prap  poii  fap  not  fo. 

[He]  3ln  fapti)  31  to.  [She]  ^ap  3!  of  pou  i)t  fare  ^ 
[He]  If ca  in  0oot  fapt||.  [She]  c^cn  am  3[  pouci^  alfo* 

By  what  kind  of  fophiflry   a  lover  may  reafon  himfelf  into  a  ftate 
of  abfolute  indifference  the  following  ballad  teaches. 

I. 

f  f  tcafon  bit  rule, 

31lnt  taitt  hept  fcoolc, 
<©ifcrecton  ^oulte  taftc  place, 

51lnt  l^eaue  out  l^eauinc.sf, 

l^fjicjj  lianiCJet  quietne^, 
55 nt  mate  fjpm  fiite  |)i^  face- 

IL 

rig)itlj  time  fjatj)  triet, 

ant  trutfi  l^atl)  fpiet, 
iCJat  fainet  faitl^  i^  ffatteric, 

H^ljp  (Joult  tiftaine 

(^^n^  oucr  me  raigne, 
3llnt  Jjolt  mc  in  taptiuitp  ^ 

III. 
ll^Jp  ifioulte  caufe  mp  t^attt  to  firafife, 

55p  fauoring  fooUCJe  fanta^ie  ^ 
31^j)p  Ifjoult  tifpare  me  all  to  teare, 

WW  ^oulte  31  iopnc  tuitlj  idofic  ^ 

IV. 

il^Sp  ifioult  3[  trul!, 

€6at  ncuer  to^  juHrc, 

4©r  Iouc  Ijer  tljat  ioue^^  manpe ; 

iBt  to  lament 

'€:imc  paft  ant  fpente. 

IS^ljcreof  i^  no  recoberie  ^ 

V.  foe 


Chap.  3-       AND    PRACTICE    OF    MUSIC.  37 

V. 
foir  if  tgat  5i 

<59pfclfc  in  al!  3[  can ; 

(ttiitl)  to  tafee  place, 

I0i)cre  ncucr  trutfj  toaiSf, 
5i  bjcarc  a  fooUf§  man. 

VI. 

^ctt  foortD  i^  Bp  fcicnce, 

iS^eclare  it  tiotlft  crpcriencc, 
25p  tge  frute  to  hnoUJ  t jje  tree  j 

/^fjen  if  a  faininge  flatterer, 

€0  gaine  a  faitf)ful  louer, 
Jt  map  in  no  toife  he. 

VII. 

/^gerfore  faretoell  flatterie, 

f  aineti  faitfj  anti  jelofie, 
(Ztinf^  mp  tale  ftiaH  tell ; 

l^eafon  nolu  fjall  rule, 

H^itt  (Jail  feepe  tje  fcoole, 
^nti  Beti  pou  all  faretoell. 

The  arguments  in  favour  of  celibacy  contained  in  the  following 
fong  are  neither  new  nor  very  cogent  5  yet  they  are  not  deflitute  of 
humour. 

I. 

€St  Baclielor  mott  jopfullpe, 
3[n  pleafant  pligljt  tioti  jralte  iji^  tiaiCiEf, 

45ooti  fellotofjipp  anti  companie 
i^e  iiotl)  maintaine  anti  l^epe  altPaie. 

II. 
U^itl)  tiamfellisf  braue  Ije  mape  toell  got, 
€'{|e  marieti  man  cannot  t>oe  fo, 


38  HISTORY    OF    THE    SCIENCE       Book  I. 

3if  f|c  Be  mcric  nnb  top  UJitfj  anp, 

1$i0  Mfc  m\i  fcotune,  anb  toortt^  Qtnt  manpc ; 

jpcr  pclIotD  ijofc  t^t  Hmit  tuiU  pat  on, 

^0  tijat  tj)e  marrieti  man  tiarc  not  tiifpleaft  jjiiES  toifc  gfoanc. 

There  is  fomevvhat  fubtle  in  the  argument  ufed  by  the  author  of 
the  following  fianzas  againft  lending  money,  which  in  fliort  is  this^. 
to  preferve  friendihip,  refift  the  emotions  of  it« 

I, 
5[  Jjab  &orf|  monicanti  a  frcntic, 

«0f  nc itljer  tj^ougfj  no  l!orc ; 
31  Jcnt  mp  monie  to  nip  frcntre, 

^ntx  toofec  l&ijef  l&onbe  tgcr&re. 

II. 
51  a-sftcb  mp  montc  of  mp  fi-cntc, 
^ut  natDgljt  fa\)t  \Ximh0  3i  0ott ; 
'     3[  loll  mp  monie  to  hcpc  mp  frcntie, 
for  feiijc  gpm  tuoulD  gf  not» 

IIL 
^lit  tfjf n  if  monic  come, 

%\\^  frentJc  againe  tDcarc  fountsg, 
%  tooujtJe  Icnb  no  monie  to  mp  tttnW, 

jjgon  no  RpnSJc  of iioui^e, 

IV. 
55ut  after  tfji^  for  monie  eomet!| 

311  fricnb  luitfi  patune  to  ^^^t, 
5^tit  tnficn  t||e  monie  f^oui&  &e  gat^r 

O^pf cenbe  nCiJti  fuefi  tsclap, 

V. 
(CJat  necbe  of  monie  tiiti  me  force,. 

SH^P  frcntse  ^i0  patune  10  fell, 
0iiti  fo  2[  got  mp  monie,  ^\xt 

^f  fcentje  elene  from  me  felL 


Chap.  3.      AND    PRACTICE    OP    MVSIC.  J9 

VL 
Mt"^  Xicntic  for  monic  km  m^i  fccnbe, 

^OL*  ^atunc  xiiTiu-tiitcc  ij@? 
^m  tljcit  mjj  nionic  cv  mp  fccu^se, 

Ci^r&pe  3[  encc  miffc 

VII. 
5;f  \^t^  tcnb  nicnic  nntJ  a  frcji^e, 

^jS  5[  fiauc  ij^h  Dcforc, 
gi  tutn  hccpc  inp  monic  ant!  fa*s?c  nni  fi'fr;tw. 

JEnta  pla^c  tfjc  fcolc  no  more. 

The  examples  above  given  are  only  of  fuch  fongs  and  ballads  as  it 
is  fuppofed  vi'ere  the  entertainment  of  the  common  people  about  the 
year  1550,  they  are  therefore  not*  to  be  confidered  as  evidences  of  the 
general  ftate  of  poetry  at  that  time,  nor  indeed  at  any  given  period  of 
the  preceding  century  ;  for,  not  to  mention  Chaucer,  who  flourifh^ 
cd  fomevvhat  before,  and  whofe  excellencies  are  known  to  every  judge 
of  Engli{h  literature,  the  verfes  of  Gower  abound  with  beautiful 
images,  and  excellent  moral  precepts  ;  and  thofe  of  the  earl  of  Surrey, 
Sir  Thomas  Wyat,  and  a  few  others,  their  contemporaries,  with 
the  liveliefl:  defcriptlons,  and  moft  elegant  fentiments.  One  of  the 
moft  excellent  poems  of  the  kind  in  the  Englifh  language  is  the  bal- 
lad of  the  Nut-brown  Maid,  publillied  with  a  fine  paraphrafe  by  Prior, 
which,  though  the  antiquity  of  it  has  by  a  few  been  queftioned,  was 
printed  by  Pinfon,  who  lived  about  the  year  1500,  and  probably  was 
written  fome  years  before. 

Many  of  the  fongs  or  popular  ballads  of  this  time  appear  to  have 
been  written  by  Skelton,  and  a  few  of  them  have  been  occafionally 
inferted  in  the  courfe  of  this  work  i  as  to  hi?  poems  now  extant,  they 
are  fo  peculiarly  his  own,  fo  replete  with  fcurrility,  and,  though 
abounding  with  humour,  fo  coarfc,  fo  lewd  and  indelicate,  that  they 
are  not  to  be  matched  with  any  others  of  that  time,  and  confequently 
refled:  no  difgrace  on  the  age  in  which  they  were  written. 

Nothing  can  be  more  comical,  nor  nothing  more  uncleanly,  if 
we  except  certain  verfes  of  Swift,  than  that  poem  cf  Skelton  en» 
titled  the  Tunnyng  of  Elynour  Rummyng.     This  woman  is  faid  by 

him 


40  HISTORY    OF    THE    SCIENCE        BookL 

him  to  have  lived  at  Letherhead  in  Surrey,  and  to  have  fold  ale,  the 
brewing  or  tunning  whereof  is  the  fubjedl  of  the  poem.  The  humour 
of  this  ludicrous  narrative  confifts  in  an  enumeration  of  many  fluttiih 
cjrcumftances  that  attended  the  brewing,  and  a  defcription  of  feveral 
perfons  of  both  fexes,  of  various  charaders,  as  travellers,  tinkers,  fer- 
vant-wenches,  farmers'  wives,  and  many  others,  whom  the  defire  of 
Elynour's  filthy  beverage  had  drawn  from  different  parts  of  the  coun- 
try ;  of  her  ale  they  are  fo  eager  to  drink,  that  many  for  want  of 
money  bring  their  hou£hold  furniture,  fkillets,  pots,  meal,  fait,  gar- 
ments, working-tools,  wheel-barrows,  fpinning-wheels,  and  a  hun- 
dred other  things.  This  numerous  refort  produces  drunkennefs  and 
a  quarrel,  and  thus  ends  Skelton's  poem  the  Tunnyng  of  Elynour 
Rummy  ng. 

Of  his  talent  for  fatire  the  fame  author  has  given  an  example  in  the 
following  verfes,  which  becaufe  they  are  charaderiftic  of  an  ignorant 
fmging-man,  a  contemporary  of  his,  are  here  inferted  at  length. 

^hclton  Haurcatc  ngaiiili  a  comclp  CopRrctonc,  t\)cit  cunotDiTp 
clinuntptJ  anb  carrpf!)lp  coUintrcti  anb  matjJp  in  !ji^  Wiitihc^  moR:: 
hpiftjp  mabf,  agapnfl  tSc  ix  JtH^ufi^  of  poIitilKc  ^otm^  anb  ^ocrtp^ 
marciculat* 

d^i  all  itacpcn^  unbet  tftc  ^citpn, 
m)ttc  frantpKc  foolpjsf  3!  !jatc  mofr  cf  alK, 
for  tfiougf)  tgf  |i  Rumlfic  in  tide  t^imt^  fcupn, 
gjn  pnipffincjsf  yet  tfjcp  fnappcc  anti  fail, 
Wf^id)  mm  f^t  tiij  tcatilp  tm^  tail, 
(Zl)i0  ptnyf^  prouti  t!)i^  prnibci*  gclr, 
Wfjcn  |)c  i^  tDeU  im  can  f}C  not  rclt* 

%  f toctc  fU0cr  lofc  anb  foturc  SapartsjS  Iiini 
^t  fumtjcle  Iplic  in  forme  anb  (Jap, 
<C!je  one  for  a  tjnhe  tl[)cotl]cr  for  a  tiun ; 
m  mannclict  for  ^oxcii  thereon  to  fnap, 
t)i^  ftart  i^  to  Ijp  to  fjauc  anp  Sjap, 
$0ut  for  in  W  eamut  carp  tf^at  80  can, 
210  giah  tDoIti  fee  a  g(entplman. 


Chap.  3-      AND    PRACTICE    OF    MUSIC.  41 

H^ptf)  gcp  trolp  iolp,  fo  iuSip  fjcrc  g[(a&, 
5Humli0h  fobpitipm  fpllcrpm  ticn, 
<riirpotDiTp  !jc  can  totf^  counter  anti  ftnaft, 
<t^t  ^artin  J^toart,  anti  all  f^^^  merp  men, 
%ovt}  Ijoto  ^crhpn  i^  prouti  of  !ji^  ^poftcn, 
$5ut  a^fe  txjgct:  fte  fpntiptfi  among  gij^  monacocbif 
^n  fjolp^tDatcc^cIarli  a. ruler  of  lorbcjsf* 

ipc  cannot  fpnti  it  in  rule  nor  in  fjracc, 
l}t  folfptf)  to  tjautc,  f^i?^  trptJpU  ijgi  to  (jp, 
4e  JiraggptI)  of  fit^sf  &prtlj  tJjat  iJornc  toa^  fall  t^ace, 
^p^  mufpl^  hJitljoute  mcfurc,  to  ftjarp  i^  Iji^  mp  "^^ 
l^t  trpmmptf)  in  Ijijaf  tenor  to  counter  partip, 
^i^  bifcant  i^  licfp,  it  i^  tDitliout  a  mene, 
eo  fat  ija?  Ijijgf  fantfp,  liiiSf  topt  i^  to  lene* 

^e  tumBrptlj  on  a  leixjtie  Jctote,  ^Hotp  IiuJle  9[opfe  +, 
ilumbill  botone,  tumbil  botone,  gep  go  noltj  notD, 
f$c  fum&lptli  in  Ji.^  fpngering  an  uglp  rulie  noxfc, 
gt  feemptft  tl|c  fobbpng  of  an  olb  foUi ; 
^t  ItJolbe  fie  maSJC  moci^  of  anb  {)e  topfl  l^otu ; 
IBele  fpeb  in  fppnbel^a?  anb  tunpng  of  tratjcllpist, 
%  bungler,  a  bratuler,  a  ppher  of  quarellpjsf. 

Comelp  fje  clappptli  a  papre  of  claupcorbp^s?, 
f^t  tD^pKelptf)  fo  nuetelp  fje  mahctfj  me  to  ftuct, 
^10  bifcant  i^  ba(f)eb  full  of  bifcorbe^, 
M  reb  angrp  man,  but  eafp  to  intrete ; 
%n  uff)er  of  tlje  Ball  fapn  toolb  5[  get, 
€0  pointe  tl)i0  proube  page  a  place  anb  a  rome, 
for  Jail  toolb  fie  a  gjentilman  tljat  late  toa^  a  gromc. 

giaft  tnolb  get  anb  pet  5;ill  fapb  nap, 
^c  countetl)  in  fiijsf  countenance  to  cljech  tuitlj  tge  htVi, 
21  malapcrte  mcbler  tljat  pryctij  for  Iji.^  prap, 
5[n  a  bpfft  bare  l)e  ruf^  to  torangill  anb  to  lyccd, 
J^e  finbetfi  a  proporcpon  in  iji^  prpcUc  fonge, 
€0  brpnfie  at  a  braugljt  a  large  anb  a  long. 

•  1.  e.  The  fyllable  mi  ufcd  in  folmifation.         f  The  initial  words  offome  old  fon^. 

YoL.Ilu  G  i^ap 


42  HISTORY    OF     THE    SCIENCE       Book  L 

|)ap  iapc  not  tDxtl)  ][)pm,  f)t  i0  no  fmall  folc, 
3Jr  i^  a  folcnipnc  t^tc  anti  a  folapne, 
for  lorbc^  an13  iabpcj^  Iccnc  at  l[)i^  fcolc, 
i^c  tfcfiptli  tfjcm  fo  ti5?fdn  to  tWant!  to  fapnc, 
Cfiat  ncitljcr  t|iep  fing  toe!  priitc=fong  nor  plain, 
'^^i^  ts^octor  ^cntajsf  coniiucnfpt!  in  a  cart, 
511  maRcr,  a  mjinltrc!,  a  fpbJcr,  a  fart» 

Wliit  ttjcnu^  pc  can  counter  CullodI  nos, 
2SI^  iDci  it  bccomiti)  poii  a  parpfj)  toit^nc  clarhe 
f^O  fpng  Supinitati  dedit  Mgros, 
f  ct  hca  pc  not  to  6olb,  to  braule  nc  to  Barh, 
%t  me  rJjat  mcbclfti  notijing  toitlj  pourc  luarlt, 
Correct  Hrf!  tljp  fcifc,  tualk  anti  fie  nougfjt, 
vDemc  togat  pou  Ufil  tJiou  RnoiSJinr  not  nip  tfjou0i)t. 

%  protierlie  cf  oltr  fap  tdelJ  or  6e  (tin, 
^e  are  to  unl^appp  occafion  to  fpnbe, 
yppon  me  to  clater  or  clfe  to  fap  pil» 
^om  Ijabe  51  ftictDpti  pou  part  of  pour  proub  minti, 
€afee  tW  in  l^o^tf)  tfie  belt  i^  ftc^inti. 
^rpten  at  Croption  bp  CrotuJantJ  in  tfje  clap, 
(On  €anM\m0  cupn  tide  31taIentJai6f  of  ni9ap> 

Mention  has  already  been  made  of  the  fervice-books  ancient- 
ly ufed  in  the  churches  and  chapels  of  this  kingdom,  by  whom 
they  were  generally  made,  and  of  the  enormous  price  they  bore 
while  copies  of  them  could  only  be  multiplied  by  writing. 
This,  though  a  great  inconvenience,  was  not  the  only  one  which 
mufic  laboured  under,  for  the  characters  ufed  in  mufical  notation 
were  for  a  feries  of  years  ilud:uating,  fo  that  they  afTumed  a  new 
form  in  every  century,  and  can  hardly  be  faid  to  have  arrived 
St  any  degree  of  ftability  till  feme  years  after  the  invention  of 
printing  i  and  it  will  furprize  t^^e  reader  to  behold,  as  he  may 
in  the  fpecimens  of  notation  here  given,  the  multifold  varia- 
tion of  the  mufical  characters  between  the  eleventh  century,  when 
they  were  invented  by  Guido,  and  the  fifteenth,  when,  with  a  few 
exceptions  in  the  pradice  of  the  German  printers,  they  were  finally^ 
fettled. 


Chap.  3-       AND    PRACTICE    OF    MUSIC. 


43 


iiv?  fuVrbcc  rugaitvrcgtrAm  im 


T    t    JTrTfT '^*.  ^*n»r  j- 


l>baic  111  cr  *    ' 'loibrraunai  Ki^aimcnmB    bo 

r.1  * .  ^   .  -^ — ~ rrr, ^^T-mT' p-r .    i-c^  ^  rtti 


'^     ^^'     ^'    •'^'^^'^uKracv      -         num  inbed  nan      '  n(ti{ 

-» — yy-i — 7—^ — it~ — s z — L — s: — rr. 1 wtH ti-ti inni 


"t  ^^  ,*«**^A  fjiji.    ^Jn?1. 

— irs L ri n — *^  i./ 


m^  M^mrem  u?emm  ''iilMcfr  K}0  Cug>iio  fgnild^nnnctt 


^edCTupaasn 


wngp  yoftmnpoKT 


iKrftrrmioItbcrlno' 


aiTtiCteg  m  cjviiibii^^ 


"  aiv'AC  V 


la-  V  veirmirabili^  ^cnr 


ql^a(^l^^ll^^?calllm  rvnr<r 


1 


y(hin\bc6iixir  ^• 


Uuil. 


yiffiiim  |)Cfliriqm 


. m 


^fniebonc'tfi&'eft'gtiMU' 


ciioca  maVificms  m 
mililal^mtujiicirn 
^mjllQriioramt'i 

{Bu5Snwuaftmo4> 


MctcivpMMifGr 


vP'  V     w   ^  ;-iH  /^     ::i^ 
muka  re^nihntam  m 


r    n 


*.*'  A 


r  V, 


tva  tngtiuNntn  ^omlm  ^a 


nuarvtA' 


^^^'  .V. 


44  HISTORY   OF   THE    SCIENCE       Bookl. 

^  r  //<  y '<  v//  vy///// .  r  //i  p^ai/'rHit  -  fe  /^ff  -  n  tiajerfa  t'rfs  C/irr  -/w  Jiat 

'  rrr  -    t/.'sjajiwr /^t-r  rxwi  jifii<'tjtft'r      t'/tjii pa//  - pere   m /us 

i/ii42e /ur  -  Jf/m/unfdi  -  lusatmaiuiti' .  H%  c^i^ fi    .r/m? 

/urm  if  m  eiH- /v^  t/uyaana -       

-^  nitric  -    uuiver/uu/ji.^^ywrdi/Siiudisfidi  audi     c/fs 

du'^it^r.nJefum  ,r'/>teftdui(Uirfufu -us  ill  e^ietwi^       /n  tint. 

*.V-  of^9  opo?  cP^ 

^fiait^ih  >li/vt/u^m'  ludfum  reie^iaiint.  Ffi^/e  an/£>f(£^  C4im  ^ui//iudani  PuiJimwri/ie&i/i^a  inlefyid/ante 
Brit/Uruddcifniu4fejaii,deditellivutny'iajiaivti^>  i/v in^a/ztRremtjiuae'  //n^aa i/krum iwcatur  m 
fi/rore .  In^ia  ifutt:  c»JLftf-iu&>  nu^hLttfTCt?  atu>c/  hticte7Ui^  /w//idefi/ hefe</&f  eiu^  a/u7uaf?idiu  cvn  - 
itficnti/C-trrut/ni/cjiJil  uUain,  i/'oJii^  daji^it  auOfium  diern  . 

^  .      .•   •  .'9   p  cF^F'^cpc  ocPoc^oPpo^ ^cp  op    c  ,o?^<^?ooc.oF°^ 

.  Arffw^n/cnmn .  MtffdnnjLf      lJ)c        -      ini  numaiaea       ntm^ 

P^cf'' c.  oifpoop  o^    ,cpf^o?P^.  Jcfpc,pj,o   ^f^fcf^^'ocCo^fpP^J'ccf/cP 

-   -  ti/a     -  tisAuiwer-ii  me  -  n-tis(yu?  -  -  -  ri  o  -  -Jits' ad  - 

<^i  of^'oP^    pjfP  J     P  ^of.^^  ""f^f^^'^ofJ  ocf  P     o,   ,p  cj^^oof^cf'^'o 
f'e  put  c/irumc  -  iiis  aafn     iij:     -    -  -  in  a  tit  &ija  lua/   -    -  -  - 

'pccaf^f^^c^^cco'^?M^cfccoff^poofccofc^^ P^Pcfo^c^'h^P'^  oS       ofofooo 

------      .,,.....---...-'------  ti&r.  .ytc    -  - 

^rP^^^.^^r  .'•     '      .P^<^    ''^^'^^f-^^^    ^^^   ?cp  poop    oof? 
ata.Ver/ualas.Vete  j/imi  odisLve  ics,aui  ajji  dit  is  oe  a 

uwi  .Uiitoeiiuni  Tfiuacidis  ccni'jca.jT  fa^  -  cis^td    Je  pui - 

,oP        ^^9^^^c9c-     J  J       ''J  y^^  ^■■J'  ^^^  F      n      J       /    ^ 
cfiJiWi  .*tii'7y/i  patfT .  Jidlafn  drdiL lajMrjiufuis .^audes. oer^ue 

PccF^J    OC  C-P     ^        P      -'f    '^Jc^f^'^.    Cq        fl     o       ^/"^    0 

bone  e/^/i  de/is .  i/nui  ifi  paiiui  fit  ilfi  ft  ^i^'lis.  /ii/jni7n/u  -  ta 


e  ciui/iuaain,  in     tra  m  aaiuw  imiLDoni/Jit  He  - 1   tin  • 


k  ciui/i'^ifniiftL .  Ill     tra  lit  ija, 
,  le  -  iiiM 


Chajp.3.       AND    PRACTICE    OF    MUSIC.  45 


^ 


^.-'  ^  ^^    g^ArvA^^  ,,,,.^ 


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i     I     J.      M^^-J^  J^'''^.^'^''''^'^^^ 


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tiTiei^    mr  d)  111  cofflTaiTr 


C-^'^Kh,!^         ^     ,,V^,    ^      ^HTM^^ 


t^manaag^tn  cm^  ~ae 


/lA  >    t    g^^^'^^'^^^i'^     SI 


tot^dt    e    amftimr  T^atit^ 


^rg^V^v-^,  )^u  ^>a  ^yt^^^H^     1    j 


yiir  \\A.  ^avt    vt  im^ua^ 


t^^"->MH    h-''   '^'^    ;.    .r^-r-V^^ 


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F    ^^t^.   ^      n     t  ^n^     .n      -e-^Mi^ 


a.y  a-         n^^  ^n.^^^. 


afpidtnit  fttbiaim^c  oi^inn^iTuftodT 


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mc^  go      Dmir      c»cimvut  yerca 


ItTTt 


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torur        g;  gii  Donnuibiis^  i  vn 


77,/r/r  .' 


46  HISTORY    OF   THE    SCIENCE      Book  I. 


/^rifLe   -  nu    -----    3{?  -  rni  rie    -        -     -    a/'Ai^ 
mine  nia/c  -       -     amro  m  -  -  -  aiw    -    li 


Ju:    J^of^fy^^^j^Jj  ^       J  J  ^-^T^o^  gc^jojoe^^o^''^? 


6erw  -   -   -   ni^     QiJi  a>i^t/iiue 


J"^  ^J^PJ-^J  ^      ZIJ^&-,j  i   j'^^-'^^.j  <i^c~'>^^JcJ^. 


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af/ii  (^imi        /ill' /a  '  I'l  IS  e.  -    -  onmt     Cu/hdi' 

7fie        Cdc  juine  %denmjiu  pec  ca  -     • 


tv7%s  i/r  ///  /w7uinihis  ifi/ 


Chap.  3. 


AND    PRACTICE    OF   MUSIC, 


47 


ill 


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48 


HISTORY   OF   THE   SCIENCE       Book  I. 


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Chap.  3-       AND    PRACTICE    OF    MUSIC.  49 


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ferquem 


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Vol.  III.  H 


5©  HISTORY    OF    THE   SCIENCE      Book  !• 


iccCifr  aiimiifi  itilicaf  dcpvgr 
Sur.  ftiTPlic  I  cpnfeflionr 


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Chap.  3.    AND    PRACTICE    OF   MUSIC. 


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54  HISTORY    OF    THE    SCIENCE       Book  I. 

Upon  the  foregoing  fpeclmens  it  is  to  be  remarked,  that  they  ex- 
hibit a  feries  of  charaders  ufed  for  the  purpofe  of  mufical  notation 
from  the  eleventh  century  down  to  the  fourteenth,  as  they  are  to  be 
found  in  miiTals,  graduals,  antiphonaries,  and  other  books  of  offices^ 
adapted  to  the  Romifh  fervlce.  With  regard  to  the  firft,  *  Paupertate 
Spiritus,'  the  mufical  charaders  appear  to  be  fuch  as  are  faid  to  have 
been  in  ufe  previous  to  the  invention  of  the  ftave  by  Guido,  and  from 
the  fmallnefs  of  the  intervals  it  may  be  queftioned  whether  the  notes 
are  intended  to  fignify  any  thing  more  than  certain  infledions  of  the 
voice,  fo  nearly  approaching  to  monotony,  that  the  utterance  of 
them  may  rather  be  called  reading  than  finging. 

The  example  *  Eripe  me  Domine'  is  clearly  in  another  method  of 
notation,  for  the  flave  of  Guido,  and  alfo  the  F  cliff,  are  made  ufe 
of  in  it.  With  regard  to  the  charad:ers  on  the  lines  and  fpaces,  they 
are  very  different  from  thofe  points,  from  the  ufe  whereof  in  mufical 
compofirion  the  term  Contrapunto  took  its  rife  j  and  fo  little  do  they 
refemble  the  charaders  proper  to  theCantusMenfurabilis,  as  defcribed 
by  Franco,  De  Handle,  and  other  writers  on  that  fubjed:,  that  it  is  not 
without  great  difficulty  that  they  can  be  rendered  intelligible.  The 
author  from  whom  this  example  is  taken  exhibits  it  as  a  fpecimen  of 
the  manner  of  notation  in  the  twelfth  century;  it  neverthelefs  appears 
to  have  continued  in  pradice  fo  low  down  as  the  fixteenth,  for  all  the 
examples  in  the  Margarita  Philofophica  of  Gregory  Reifch,  printed 
in  15)7,  are  in  this  charader,  as  are  alfo  thofe  in  the  Enchiridion  of 
George  Rhaw,  the  Compendium  Mufices  of  Lampadius,  and  other 
works  of  the  hke  kind,  publirhed  about  the  fame  time. 

The  fpecimen  *  Verbum  Patris'  is  of  the  thirteenth  century,  and  as- 
to  the  form  of  the  charaders,  differs  in  fome  refpeds  from  the 
former  ;  and  here  it  may  be  remarked,  that  the  F  and  C  cliffs  have 
each  a  place  in  the  ftave,  and  that  the  flation  of  the  former  is  marked 
by  a  pricked  line.  Other  diftindions  for  the  places  of  the  cliffs, 
namely,  by  giving  the  lines  a  different  colour  or  different  degrees  of 
thicknefs,  were  ufual  in  the  earlier  times,  and  are  taken  notice  of  in 
the  preceding  volume  of  this  work. 

The  charader  in  the  fpecimen.  *  Vere  dignum  et  juftum'  are  fup- 
pofed  to  denote  the  infledions  of  the  voice  in  reading. 

The  plate  page  51  (hews  the  different  forms  of  the  cliffs,  and  their 
gradual  deviation  from  their  refpedive  roots  at  different  periods. 

The. 


Chap.  4-      AND    PRACTICE    OF    MUSIC.  55 

The  two  next  fucceeding  plates  contain  a  comprehenfive  view  of 
the  mufical  notes  in  different  ages,  with  their  equivalents  in  modern 
charadters. 

The  fpecimens  above  exhibited  are  taken  from  the  Lexicon  Diplo- 
maticum  of  Johannes  Ludolphus  Walther,  publiflied  at  Ulra  in 
1756;  they  appear  to  have  been  extracted  from  ancient  fervice- 
books  in  manufcript,  of  which  there  are  very  many  yet  remaining  in 
the  public  libraries  of  univerfjties  and  other  repofitories  in  Europe  *. 
The  explanations  in  modern  charaders  are  the  refult  of  his  own  la- 
bour and  learned  induftry,  and  furnifh  the  means  of  rendering  into 
modern  charaders  thofe  barbarous  marks  and  fignatures  ufed  by  the 
mcjiks  in  the  notation  of  their  mufic. 


CHAP.  IV. 

THE  invention  of  printing  proved  an  effedual  remedy  for  all 
the  evils  arifing  from  the  inftability  of  mufical  notation,  for 
befides  that  it  eafed  the  public  in  the  article  of  expence,  it  intro- 
duced fuch  a  fteady  and  regular  pradice  as  rendered  the  mafical,  an 
univerfal  charadler. 

The  firft  effays  towards  mufic-printing  were  thofe  examples 
which  occur  in  the  works  of  Franchinus,  printed  at  Milan  ;  but  of 
thefe  it  may  be  obferved,  that  the  notes  therein  contained  are  not 
printed  from  letter-prefs  types,  with  a  charader  cut  on  each,  but  in 
mafles,  or  from  blocks,  with  a  variety  of  charaders  engraven  there- 
on. The  Germans  Improved  upon  this  pradtice,  and  the  art  of  print- 
ing mufic  with  letter-prefs  types  appears  to  have  arrived  at  great 
perfejdlion  among  them  by  the  year  1 500. 

Matthefon,  in  his  Volkomenen  Capelmeifter,  pag.  58,  relates 
that  Jaques  De  Sanleques,  a  man  who  had  arrived  to  play  exquifitely 
on  all  inftruments,  without  the  leaft  inftrudion,  was  the  firft  who 
taught  the  art  of  making  mufic-types,  and  the  method  of  printing 
from  them,  in  France;  and  that  he   died  in  the  year  1660,  at   the 

*  One  of  the  fineft  of  the  kind,  perhaps  in  the  world,  is  the  Liber  Regalis,  containing^ 
among  other  things,  the  religious  ceremonial  of  the  coronation  of  Richard  II.  and  his 
queen,  with  the  mufical  notes  to  the  offices.  This  curious  MS.  was  originally  intended  for 
the  ufe  of  the  high-altar  in  Weflminfler-abbey,  and. is  now  in  the  library  of  that  church. 

a^e 

£3 


5^ 


HISTORY    OF    THE    SCIENCE        Book  I. 


age  of  forty-fix,  having  precipitated  his  death  by  exceffive  fludy  and 
application.  This  account  of  the  introduction  of  mufical  printing 
types  into  France  can  never  be  true;  for  the  Pfahns  and  other  works 
of  Claude  Le  Jeune,  which  were  pubhfhed  at  Paris  by  Pierre  Bal- 
lard before  Sanleques  was  born,  that  is  to  fay  in  1603  and  1606,  are 
a  demondration  to  the  contrary;  and,  to  judge  from  the  exquifite 
beauty  and  elegance  of  the  charaders,  and  the  many  elegant  orna- 
ments and  ingenious  devices  for  the  initial  letters,  it  feems  that  the 
French  had  in  this  kind  of  printing  greatly  the  advantage  of  their 
neighbours. 

In  England  the  progrefs  of  this  art  was  comparatively  flow,  for  in 
the  Polychronicon  *  of  Ranulph  Higden,  tranflated  by  Trevifa,  and 
printed  by  Wynken  de  Worde,  at  Weftminfter  in  1495,  ^^^  ^^^  ^°^~ 
lowing  mufical  charadters,  which  Mr.  Ames  with  good  reafon  fup- 
pofes  to  be  the  firfl  of  the  kind  printed  in  England. 


H 


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Grafton  improved  upon  thefe  charaders  in  the  book  publifhed  by 
him  in  1550,  entitled.  The  Book  of  Common  Prayer  noted,  which 
v/as  compofed  by  John  Marbeck  organift  of  Windfor,  and  contains  the 
rudiments  of  our  prefent  cathedral  fervice;  thefe,  in  the  opinion  of  the 
printer,  flood  fo  much  in  need  of  explanation,  that  he  has  inferted 
the  following  memorandum  concerning  them. 


*  Thofe  who  do  not  know  that  the  Polychronicon  Is  a  multifarious  hiflory  of  events- 
without  order  or  connexion,  will  wonder  how  thefe  charadlers  could  find  a  place  in  it,, 
but  it  is  thus  accounted  for  :  the  author  relates  the  difcovery  of  the  confonances  by  Pytha- 
goras, and  to  illuftrate  his  narration  gives  a  type  of  them  in  the  form  above  defcribed. 


Chap.  4.      AND    PRACTICE    OF    MUSIC.  5> 

*  gfn  tfjiiSf  hooht  i^  contcpncti  fo  mucFi  of  tlje  orbcr  of  Common  ©wpcc 
*  a^  i^  to  Be  fuiig  in  crjurcfjc^,  toScrein  are  wfcti  onlp  tgete  iiii  Cocte^ 
'  ofnotCiB?, 


*  €{je  firfif  note  i^  a  (Irene  note,  anti  i^  a  bretje ;  tge  feccnb  i^  a  fguate 

*  note,  anb  i^  a  fempbrebe ;  tje  iii  a  ppche,  anti  ij5'  a  mpnpmme.  ^T.nti 

*  itJijen  tgere  i*!f  a  prpcftc  6p  tfje  fqnare  note,  t{)at  prpche  ijsf  fj^Ife  a^ef 

*  mucje  ai9f  t§e  note  tl^at  goetfj  liefore  it.    €^t  iiii  i^  a  clofe,  anti  i^ 

*  onlp  ufcb  at  tfte  enti  of  a  berfe/ 

Thefe  charadters  were  confiderably  improved  by  the  induftrious 
John  Day,  who  in  1560  publithed  the  church -fervice  in  four  and 
three  parts,  to  be  fung  at  the  morning,  communion,  and  evening 
prayer,  and  in  1562  the  whole  book  of  Pfalms,  colleded  into  Eng- 
]i(h  metre  by  Sternhold,  Hopkins,  and  others,  with  apt  notes  to  fing 
them  withal,  and  by  Thomas  VautroUier,  who  in  1575  publi(hed 
the  Cantiones  of  Tallis  and  Bird  under  a  patent  of  queen  Elizabeth 
to  the  authors,  the  firft  of  the  kind  *.  The  fucceeding  mufic-prin- 
ters  to  VautroUier  and  Day  were  Thomas  Efte,  who  for  fome  rca- 
fons  not  now  to  be  guelFed  at,  changed  his  name  to  Snodham  *,  John 
Windet,  William  Barley,  and  others,  who  were  the  affignees  of  Bird 
and  Morley,  under  the  patents  refpedively  granted  to  them  for  the  fole 
printing  of  mufic.  Thefe  men  followed  the  pradice  of  the  foreign 
printers,  but  made  no  improvement  at  all  in  the  art,  nor  was  any  made 
till  the  time  of  John  Playford,  who  lived  in  the  reign  of  Charles  II. 

In  what  manner,  and  from  what  motives  mufic  was  firft  intro- 
duced into  the  church- fervice  has  already  been  mentioned;  and  in 
^he  account  given  of  that  matter  it  has  been  fliewn  that  the  practice 
of  antiphonal  finging  took  its  rife  in  the  churches  of  the  Eaft,  name- 
ly, thofe  of  Antioch,  Cefarsea,  and  Conftantinople  ;  that  the  Greek 
fathers,  St.  Bafil  and  St.  Chryfoftom,  were  the  original  inftitutors  of 
choral  fervice  in  their  refped:ive  churches  j  that  St.  Ambrofe  intro- 
duced it  into  his  church  at  Milan  j  that  from  thence  it  pafled  to 
Rome,  from  whence  it  was  propagated  and  cftablifhed  in  France, 
Germany,  Britain,  and,  in  fliort,  throughout  the  Weft:  and,  to 
fpeak  more  particularly,  that  Damafus  ordained  the  alternate  finging 

*  Ames's  Typographical  Antiquities,  pag.  335. 

Vol.  III.  I  of 


38  HISTORY    OF    THE    SCIENCE       Book  I. 

of  the  Pfalms,  together  with  the  Gloria  Patri,  and  Allelujaj  in 
384,  Siricius,  the  anthem ;  in  507,  Syntimachus,  the  Gloria  in  Excelfis ; 
that  In  590  Gregory  the  Great  reformed  the  Cantus  Ambro(ianu&, 
and  eftablifhed  that  known  by  his  name  -,  and  that  about  the  year  660 
Vitalianus  completed  the  inftitution  by  joining  to  the  melody  of  the 
voice  the  harmony  of  the  organ. 

From  this  dedudion  of  the  rife  and  progrefs  of  mufic  in  cathedral 
worfhip,  it  may  feem  that  the  introduction  of  mufic  Into  the  church 
was  attended  with  little  difficulty.  But  the  cafe  was  far  otherwife; 
fortunately  for  the  fcience,  the  above-mentioned  fathers  were  fkilled 
in  it,  and  their  zeal  co-operating  with  their  authority,  enabled 
them  to  procure  it  admittance  into  the  church  i  but  there  were  then, 
as  there  have  been  at  all  times,  men,  who  either  having  no  ear,  were 
infenfible  to  the  effeds  of  harmony,  or  who  conceiving  that  all  fuch 
adventitious  aids  to  devotion  were  at  leaft  unneceffary,  if  not  fjnful, 
laboured  with  all  their  might  to  procure  the  exclufion  of  mufic  of 
every  kind  from  the  church,  and  to  reftore  the  fervice  to  that  origi- 
nal plainnefs  and   fimplicity,   which   they   conceived   to  be  its  per- 

fedion. 

And  firft  St.  Auftin,  whofe  fuffrage  Is  even  at  this  day  cited  In  fa- 
vour of  choral  mufic  ;  although  fpeaking  of  the  introdudion  of  anti- 
phonal  finging  Into  the  church  of  Milan,  at  which  he  was  prefent, 
thus  pathetically  exprefles  himfelf:   *  How  abundantly   did   I   weep 

*  before  God  to  hear  thofe  hymns  of  thine  ;  being  touched  to  the 
»  quick  by  the  voices  of  thy  fweet  church  fong  !     The  voices  flowed 

*  into  my  ears,  and  thy  truth  pleafingly  diililled  into  my  hearty 
«  which  caufed  the  aftedions  of  my  devotion  to  overflow,  and  my 
«  tears  to  run  over,   and  happy  did  I  find  myfelf  therein.' 

Yet  this  very  St.  Auftin  having  reafon  to  fufped  that  he  had 
miftaken  the  natural  workings  of  his  paffions  for  the  fervent  opera- 
tions of  a  vigorous  devotion,  cenfures  himfelf  fever:rly  for  being  fo 
moved  with  fenfual  delight  in  divine  worfliip,  and  heartily  blulTes 
God  for  being  delivered  from  that  fnare.  He  withal  declares  that 
he  often  wKhed  that  the  melodious  fmging  of  David's  Pfalter  with, 
fo  much  art  were  moved  from  his  and  the  churches  ears  ;  and  that 
he  thought  the  method  which  he  had  often  heard  was  obferved  by 
Athanafius,  bilhop  of  Alexandria,  was  the  fafefl:,  who  caufed  hitii 
that  red  the  Pfalm  to  ufe  fo  little  variation  of  the  voice,  that  he  Teem- 
ed 


Chap.  4.       AND    PRACTICE    OF    xMUSIC.  59 

ed  rather  to  pronounce  than  fing  *.  And  elfewhere  he  declares  that 
the  fame  manner  of  finging  as  was  ufed  In  Alexandria  prevailed 
throughout  all  Africa  -f. 

St.  Jerome,  though  a  friend  to  magnificence  in  divine  worship, 
feems  to  more  than  hint  a  diflike  of  artificial  finging  in  the  church, 
when  he  fays,   '  That  we  are  not  like  tragedians  to  gargle  the  throat 

*  with  fweet  modulation,   that  our  theatrical  tunes  and  fongs  may  be 

*  heard  in  the  church,   but  we  are  to  fing  with  reverence  J.* 
Ifidore  of  Sevil,  though  a  writer  on  mufic,  and  as  fuch  mentioned 

in  the  account  herein  before  given  of  writers  on  the  fcience,  fays, 
that  the  finging  of  the  primitive  Chriftians  was  attended  with  fo 
fmall  a  variation  of  the  voice,  that  it  differed  very  little  from  read- 
ing ;  and  as  for  that  pompous  manner  of  finging,  which  a  little  be- 
fore his  time  had  been  introduced  into  the  wefi:ern  church,  he  fays  it 
was  brought  in  for  the  fake  of  thofe  who  were  carnal,  and  not  on 
their  account  who  were  fpiritual,  that  thofe  who  were  not  affeded 
by  words  might  be  charmed  by  the  fweetnefs  of  the  harmony  ^. 

Rabanus  Maurus,  another  mufical  writer,  and  a  difciple  of  the  fa- 
mous Alcuin,  freely  declares  himfelf  againfi:  the  ufe  of  mufical  arti- 
fice and  theatrical  finging  in  the  worship  of  God,  and  is  only  for  fuch 
mufic  as  may  move  compundlion,  and  be  clearly  underftood  by  the 
hearers  ||. 

Thomas  Aquinas,  unlverfally  reputed  the  ableil  and  moll:  judici- 
ous of  the  fchoolmen,  declares  againft  the  ufe  of  infiruments  in  di- 
vine worfhip,  which,  together  with- the  pompous  fervice  of  the  choir, 
he  intimates    are  JudaicaL     He  fays  that  •  mufical  inftruments  do 

*  more  ftir  up  the  mind  to  delight,  than  frame  it  to  a  religious  dif- 

*  pofition,'     He  indeed  allov/s  that  *  under  the  law  fuch  feiifitive  aids 

*  might  be  needful,  as  they  were  types  or  figures  of  fomething  elfe ; 

*  but  that  under  the  golpel  difpenfation  he  fees  no  reafon  or  ufe  for 

*  them  §.' 

And,  to  come  nearer  our  own  times,  Cornelius  Agrippa,  though  a 
fceptic  in  mod  of  the  fubjedts  which  he  has  written  on,  declaims  with 
great  vehemence  againft  cathedral  mufic,  which  he  fays  is  *  fo  licentious, 

*  that  the  divine  offices,  holy  myfteries,  and  prayers  are  chanted  by  a 

•  ConfefT.  lib.  X.  cap.  33.  f  Epift.  119.  %  Epift.  ad  Rufticum. 

f  De  Eccl.  Off.  lib.  I.  cap   5.  |i   De  Inllitut.  Cleric,  lib.  II.  cap.  48. 

§  In.  21.  Qu.  91.  a.  2.  4. 

I  2  ~  *  com- 


6o  HISTORY   OF   THE    SCIENCE       BoakL 

*  company  of  wanton  muficians,  hired  with  great  fums  of  money^ 

*  not  to  edify  the  underftanding,  but  to  tickle  the  ears  of  their  au- 

*  ditory.     The  church,'  he  adds,  *  is  filled  with  noife  and  clamour, 

*  the   boys  whining  the  defcant,  while  fome  bellow  the  tenor,  and 

*  others   bark    the   counterpoint ;  others  again   fqueak    the   treble, 

*  while  others  grunt  the  bafs  ;  and  they  all  contrive  fo,  that  though 

*  a  great  variety  of  founds   is  heard,  neither   fentences,  nor  even 

*  words  can  be  underftood  */ 

Erafmus,  who,  as  having  been  while  a  boy  a  chorifter,  might  be 
reafonably  fuppofed  to  entertain  a  prejudice  rather  in  favour  of  mufic 
than  againft  it,  has  a  pafTage  to  this  purpofe  :   *  There  is,  fays  he,  a. 

*  kind  of  mufic  brought  into  divine  worfliip  which  hinders  people 

*  from  diftindly  underftanding  a  word   that  is  faid ;  nor  have  the 

*  fingers  any  leifure  to  mind  what  they  fing  ;  nor  can   the  vulgar 

*  hear  any  thing  but  an  empty  found,  which  delightfully  glides  into- 
«  their  ears.     What  notions,  fays  he,  have  they  of  Chrift,  who  think. 

*  he  is  pleafed  with  fuch  a  noife  ?' 

And  in  another  place  he  thus   complains :  *  We  have  brought  s 

*  tedious  and  capricious  kind  of  mufic  into  the  houfe  of  God,  a  tu- 

*  multous  noife  of  dififerent  voices,  fuch  as  I  think  was  never  heard 

*  in  the  theatres  either  of  the  Greeks  or  Romans,  for  the  keeping  up 

*  whereof  whole  flocks  of  boys  are  maintained  at  a  great  expence, 
'*  whofe  time  is  fpent  in  learning  fuch  gibble-gabble,  while  they  are 

*  taught  nothing  that  is  either  good  or  ufeful.  Whole  troops  of  lazy 
'  lubbers  are  alfo  maintained  folely  for  the  fame  purpofe;  at  fuch  an 
■*  expence  is  the  church  for  a  thing  that  is  peftiferous.'  Whereupon- 
he  exprefTcrs  a  wifh  *  that  it  were  exadUy  calculated  how  many  poor 

*  men   might  be  relieved  and  maintained  out  of  the  falaries  of  tbefe 

*  fingers  :'  and  concludes  with  a  refledion  on  the  Englifli  for  their 
fondnefs  of  this  kind  for  fervice  "f-. 

Zuinglius,  notwithftanding  he  was  a  lover  of  mufic,  fpeaking  of 
the  ecclefiaftical  chanting,  fays,  that   that  *  and  the   roaring  in   the 

*  churches,  fcarce  underftood  by  the  priefts  themfelves,  are  a  foolifh- 

*  and  vain  abufe,  and  a  mod  pernicious  hindrance  to  piety  J.' 

But  left  the  fuffrage  of  Zuinglius  and  Calvin,  who  fpeaks  much  in 
the  fame  manner,  (hould  be  thought  exceptionable,  it  may  not  be 
amifs  to  produce  that  of  cardinal  Cajetan,  who,  though  a  great  ene- 

*  De Vanitate  et  Incertudine  Sclentiarum,  cap.  17.    f  Comment,  on  i  Corinth,  xlv.  1 9^ 
t  Zuiriglii  Ad.  Difp.  pag.  106. 

my 


Chap.4-       AND    PRACTICE    OF    MUSIC.  6i 

my  to  the  reformers,  agrees  with  them  in  declaring  that  it  may  be 
eafily  gathered  from  i  Corinthians  xiv.  that  it  is  much  more  agree- 
able to  the  apoftle's  mind  that  the  facred  offices  (hould  be  diftindtly 
recited  and  intelligibly  performed  in  the  church,  without  mufical  and 
artificial  harmony,  than  fo  managed,  as  that  with  the  noife  of  organs 
and  the  clamourous  divifions,  and  abfurd  repetitions  of  afFeded 
fingers,  which  feem  as  it  were  devifed  on  purpofe  to  darken  the 
fcnfe,  the  auditors  (hould  be  fo  confounded  as  that  no  one  (hould  be 
able  to  underftand  what  was  fung. 

Polydore  Virgil,  though  an  Italian,  and  of  the  Romi(h  commu- 
nion,  writes  to  the  fame  purpofe:  *  How,  fays  he,  the  chanters  make 

*  a  noife  in  the  church,  and  nothing  is  heard  there  but  a  voice ;  and 

*  others  who  are  prefent  reft  fatisfied  with  the  confent  of  the  cries, 

*  no  way  regarding  the  meaning  of  the  words.     And  fo  it  is,  that 

*  among  the  multitude  all  the  efteem  of  divine  wor(hip  feems  to  rely 

*  on  the  chanters,  notwithftanding  generally  no  men  are  lighter  or 

*  more  wicked.'  And  fpeaking  of  the  choir  fervice  in  general,  he 
adds :   '  I  may  fay  that  this,  and  the  ceremonies  attending  it,  are  for 

*  the  moft  part  brought  into  our  wor(hip  from  the  old  Heathens,  who 

*  were  wont  to  facrifice  with  fymphony,  as  Livy,  lib.  IX,  witne(reth*.* 
Lindanus,  bi(hop   of  Ruremonde,  fpeaking  of  the  muficians  and 

fingers  that  had  poire(red  the  church  after  the  Reformation,  com- 
plains that  their  mufic  is  nothing  but  a  theatrical  confufion  of  founds^ 
tending  rather  to  avert  the  minds  of  the  hearers  from  what  is  good, 
than  raife  them  to  God ;  and  declares  that  he  had  often  been  prefent, 
and  as  attentive  as  he  could  well  be  to  what  was  fung,  yet  could  he 
hardly  underftand  any  thing,  the  whole  fervice  was  fo  filled  with  re- 
petitions, and  a  confufion  of  different  voices  and  tones  and  rude  cla- 
mours. And  thereupon  he  commends  thofe  who  had  expelled  this 
fort  of  mufic  out  of  their  churches  as  a  mere  human  device,  and  a 
profane  hindrance  of  divine  vvorfhip  -j-. 

To  thefe  cenfures  of  individuals  feme  have  added  that  implied  in 
the  decree  of  the  council  of  Trent,  made  anno  1562,  for  corred:ing 
abufes  in  the  celebration  of  the  mafs,  not  diftinguiflung  between  the 
ufe  and  the  abufe  of  the  fubjedt  in  queftion. 

Such  are  the  authorities  ufually  infixed  on  againft  the  prar!tice  of 
antiphonal  finging  in  cathedral  churches,  againft  which  it  might  be 

*  De  Invent.  Rerum,  lib.  VI.  cap.  ii.        f  Lindan,  Panopliae,  lib,  V.  cap.  vli. 

objevfl- 


62  HISTORY    OF    THE    SCIENCE       Book  I. 

objecled,  that  the  arguments,  if  fuch  they  may  be  called,  ofthefe- 
veral  writers  above-mentioned,  feem  lefs  calculated  to  convince  the 
reafon  than  to  inflame  the  pafllons  of  thofe  who  (hould  attend  to 
them  J  that  allowing  them  all  their  weight,  they  conclude  rather 
againft  the  abufe  of  finging  than  the  pradice  itfelf :  and  that  all  of 
thofe  writers  who  have  been  thus  free  in  their  cenfures  of  church- 
mufic,  were  not  fo  well  flvilled  in  the  fcience  as  to  be  juftifiable  for 
pretending  to  give  any  opinion  at  all  about  it.  Polydore  Virgil  has 
never  yet  beeji  deemed  a  very  refpeflable  authority  either  for  fadis  or 
opinions ;  and  as  to  Cornelius  Agrippa,  the  author  of  a  book  which 
the  world  have  long  ll:ood  in  doubt  whether  to  approve  or  condemn, 
choral  finging  might  well  feem  confufion  to  him,  who  was  fo  grofs- 
ly  ignorant  in  the  fcience  of  mufic,  as  not  to  know  the  difference 
between  the  harmonical  and  metrical  modes,  and  who  has  charged 
the  ancients  with  confufion  in  the  modes  of  time,  which  were  not 
invented  till  the  middle  of  the  eleventh  century  *. 

Againft  the  objections  of  thefe  men  choral  fervice  has  been  defend- 
ed by  arguments  drawn  from  the  pradice  of  the  primitive  church, 
and  its  tendency  to  edification  ;  thefe  are  largely  infifted  on  by  Du- 
randus,  cardinal  Bona,  and  others  of  the  liturgical  writers.  As  to 
the  cenfure  of  the  council  of  Trent,  it  regarded  only  the  abufes  of 
church-mufic  ;  for  it  forbids  only  the  ufe  of  mufic  in  churches  mixed 
with  lafcivious  fongs,  and  certain  indecencies  in  the  performance  of  it 
which  the  fingers  had  given  intO"!*)  and  as  it  was  defigned  to  bring  it 
back  to  that  ftandard  of  purity  from  which  it  had  departed,  it  juftified 
the  decent  and  genuine  ufe  of  it,  and  gave  fuch  authority  to  choral  or 
antiphonal  finging,  that  its  lawfulnefs  and  expediency  has  long  ceafed 
to  be  a  fubjed  of  controverfy,  except  in  the  reformed  churches;  and  in 
thefe  a  diverfity  of  opinion  ftill  remains.  The  Calvinifts  content 
themfelves  with  a  plain  metrical  pfalmody,  but  the  Lutheran  and 
epifcopal  churches  have  a  folemn  mufical  fervice.  The  original  op- 
pugners  of  that  of  the  church  of  England  were  the  primitive  Puri- 
tans ',  the  force  of  their  objedions  to  it  is  contained  in  the  writings 
of  their  champion  Thomas  Cartwright,  in  the  courfc  of  the  difcipli- 
narian  controverfy  ;  and  to  thefe  Hooker,  in  his  Ecclelkftical  Polity, 

*  Corn.  Agrippa  in  loc.  citat. 

t  '  L'  u^o  delle  inufiche  nelle  chiefe  con  miftura  di  canto,  6  fuono  lafcivo,  tutte  le  at- 
'  tioni  fecolari,  colloquii  profani,  {Irepiti,  gridori.'  Hift.  del  Concil.  Trident,  di  Pietro 
Soave^  Londra,  1619,  pag.  559. 

has 


Chap.  4.      AND    PRACTICE    OF   MUSIC.  6^ 

has  given  what  many  perfons  think  a  fatisfadory  anfwer.    The  argu- 
ments of  each  are  referred  to  a  fubfequent  part  of  this  work. 

However,  thefe  are  merely  fpeculative  opinions,  into  which  it  were 
to  little  purpofe  to  feek  either  for  the  caufes  that  contributed  to  the 
eftablifhment  of  choral  mufic,  or  for  the  reafons  that  influenced  thofe 
who  oppofed  its  admiffion,  fince  in  their  determinations  the  bulk  of 
mankind  are  adluated  by  confiderations  very  remote  from  the  reafon- 
ablenefs  or  propriety  of  any.  The  fa(5l  is,  that  the  fathers  above- 
mentioned,,  from  a^erfuafion  of  its  utility  and  agreeablenefs  to  the 
word  of  God,  laboured  to  introduce  it  into  the  church  ;  and  it  is  no 
lefs  certain,  that  chiefly  on  the  fcore  of  its  novelty  it  met  with  great 
oppofition  from  the  common  people  ;  for,  not  to  mention  the  tu- 
mults which  the  introdudion  of  it  occafioned  at  Conftantinople,  and 
the  conceffions  which  St.  Chryfoftom  thereupon  made,  it  appears  that 
when  Gregory  the  Great,  in  620,  fent  the  Cantus  Gregorianus  into  Bri- 
tain by  Auftin  the  monk,  the  clergy  were  fo  little  difpofed  to  receive 
it,  that  the  endeavours  to  eftablifh  it  occafloned  the  flaughter  of  no 
fewer  than  twelve  hundred  of  them  at  once  ;  and  it  was  not  till  fifty 
years  after,  when  Vitalianus  fent  Theodore  the  Greek  to  fill  up  the 
vacant  fee  of  Canterbury,  that  the  clergy  of  this  ifland  could  be  pre- 
vailed on  either  to  celebrate  the  Pafchal  folemnity,  the  precife  time 
for  which  was  then  a  fubjed:  of  great  controverfy,  or  to  acquiefce  in 
the  admiffion  of  cathedral  fervice  in  the  manner  required  by  the  Ro- 
miQi  ritual :  nor  4i<i  ^^ey  then  do  it  fo  willingly  but  that  the  pope 
about  nine  years  after,  found  himfelf  under  the  necefTity  offending 
hither  the  principal  finger  of  the  church  of  St.  Peter  at  Rome,  who 
taught  the  Britons  the  Roman  method  of  finging,  fo  that  the  true 
era  of  cathedral  mufic  in  this'our  land  is  to  be  fixed  at  about  the  year 
of  our  Lord  679.- 

But  in  France  the  bufinefs  went  on  flill  lefs  fmoothly  than  in  Bri- 
tain, for  which  reafon  Adrian  taking  advantage  of  the  obligation  he 
had  conferred  on  Charlemagne,  by  making  him  em(Derorof  the  Weft,,, 
ftipulated  with  him  for  the  introduction  of  the  Cantus  Gregorianus  into 
the  Gallic  church  :  the  account  of  this  memorable  tranfadlion  is  thus 
given  by  Baronius.    *  In  the  year  787  the  emperor  kept  his  Eafler  with 

*  pope  Adrian  at  Rome;  and  in  thofe  days  of  feflivity  there  arofe  a 
'  great  contention  between  the  French  and  Roman  fingers.  The 
-*   French  pretended  to  fing  more  gravely  and  decently,  the  Romans 

*  more  melodioufly  and  artificially,  and  each  mightily  undervalued  the 

*  other. 


64  HISTORY   OF   THE   SCIENCE       Book  I. 

*  other.     The  emperor  yielded  to  the  pope,  and  made  his  own  fer- 

*  vants  fubmit ;  and   thereupon  he   took  back  with  him  Theodore 

*  and  Benedict,  two  excellent  Roman  fingers,  to  inftrudt  his  coun- 

*  trymen.     The  pope  alfo  prefented  him  with  the  Roman  antipho- 

*  nary,  which  the  emperor  promifed  him  fhould   be  generally  ufed 

*  throughout  his   dominions ;    and   upon   his  return   to   France    he 

*  placed  one  of  thefe  artifls  in  the  city   of  Metz,  ordering  that  the 

*  fingers  (hould  from  all  the  cities  in  France  refort  hither  to  be  taught 

*  by  him  the  true  method  of  finging  and  playing  on  the  organ  *.' 
Thus  the  matter  ftood  at  about  the  end  of  the  eighth  century,  by 

which  time  all  adlual  oppofition  to  cathedral  mufic  was  pretty  well 
calmed  3  and,  faving  the  objeflions  above-cited,  which  feem  rather 
to  apply  to  the  abufe  of  it  than  the  pradlice  itfelf,  church-mufic  may 
be  faid  to  have  met  with  no  interruption  for  upwards  of  feven  centu- 
ries. On  the  contrary,  during  all  that  period  the  church  of  Rome, 
with  a  fedulous  application  continued  its  utmofl:  endeavours  to  culti- 
vate it.  And  from  the  time  that  Franchinus  became  a  public  profefibr 
of  the  fcience,  the  younger  clergy  betook  themfelves  with  great  afli- 
duity  to  the  ftudy  of  mufic,  for  which  no  adequate  caufe  can  be  afllgn- 
ed  other  than  that  it  was  looked  on  as  the  ready  road  to  ecclefiafi:ical 
preferment. 

Nor  was  it  from  thofe  popes  alone  who  were  fkilled  in,  or  entertain- 
ed a  paflion  for  the  fcience,  that  mufic  received  protedion  ;  others 
of  them  there  were,  who,  influenced  by  confiderations  merely  politi- 
cal, contributed  to  encourage  it  j  the  dignity,  the  fplendor,  and  mag- 
nificence of  the  Roman  worfhip  feemed  to  demand  every  afiTifiance  that 
the  arts  could  afford.  All  the  world  knows  how  much  of  the  per- 
fection which  painting  has  arrived  at,  is  owing  to  the  encouragement 
given  by  the  church  to  its  profefibrs  :  Michael  Angelo  and  Raphael 
were  almofi:  folely  employed  in  adorning  the  church  of  St.  Peter 
and  the  Vatican  with  fculptures  and  fcripture-hiftories  ;  and  from  mo- 
tives of  a  fimilar  nature  the  greatefi:  encouragements  were  given  to 
muficians  to  devote  their  ftudies  to  that  fpecies  of  compofition  which 
is  fuited  to  the  ends  of  divine  worfhip ;  and  to  the  perfedion  of  this 
kind  of  mufic  the  circumfiances  of  the  times  were  very  fortunate  : 
for  notwithfianding  the  extreme  licence  taken  by  perfons  of  rank  and 
opulence  at  Rome,  and  indeed  throughout   all   Italy,  and  that  un- 

*  A  circumftantial  account  of  this  event,  as  related  by  Durandus  and  cardinal  Baro- 
nius,  is  given  vol,  I,  book  IV.  chap,  2.  of  this  work. 

bound- 


Chap.  4.       AND    PRACTICE    OF    MUSIC. 

bounded  love  of  pleafure,  which  even  in  the  fourteenth  century  had 
fixed  the  charadleriftic  of  Italian  manners,  it  does  appear  that  much 
of  their  enjoyment  was  derived  from  fuch  public  fpedlacles  as  to  the 
other  powers  of  fafcinatlon  add  mufic  ;  and  that  mafquerades,  feafl- 
ing,  and  gallantry  were  with  them  the  principal  fources  of  fenfual  gra- 
tification. The  mufical  drama,  or  what  is  now  called  the  opera,  was 
not  then  known  ;  the  confequcnce  whereof  was,  that  the  church  not 
having  then,  as  now,  the  ftage  for  its  competitor,  had  it  in  its  power  to 
attach  the  moft  eminent  profeflbrs  of  the  fcience  to  its  fervice,  and  to 
render  the  (Indies  of  a  whole  faculty  fubfervient  to  its  purpofes. 

To  this  concurrence  of  circumftances,  and  a  difpofition  in  thofc 
whofe  duty  led  them  to  attend  to  the  interefts  of  religion,  to  which 
may  be  added  that  theoretical  {kill  in  the  fcience,  which  Franchinus 
had  by  his  public  leditures  diffeminated  throughout  Italy,  are  owing 
the  improvements  which  we  find  to  have  been  made  in  the  art  of 
pracflical  compofition  by  the  end  of  the  fixteenth  century.  The  pro- 
digious havoc  and  deftrudtion  which  was  made  in  the  conventual 
and  other  libraries,  not  only  in  England,  at  the  diilblution  of  monaf- 
teries,  but  in  France  and  Flanders  alfo,  inconfequence  of  thofe  com- 
motions which  the  reformation  of  religion  occafioned,  have  left  us 
but  few  of  thofe  compofitions  from  whence  a  comparifon  might  be 
drawn  between  the  church-mufic  of  the  period  now  fpoken  of,  and 
that  of  the  more  early  ages  j  but  from  the  few  fragments  of  the  latter 
now  remaining  in  manufcript,  it  appears  to  be  of  a  very  inartificial  con- 
texture, and  totally  void  of  thofe  excellencies  that  diftinguifli  the  pro* 
du(5lions  of  fucceeding  times.  Nor  indeed  could  it  poflibly  be  other- 
wife  while  the  precepts  of  the  fcience  inculcated  nothing  more  than 
the  dodlrine  of  counterpoint  and  the  nature  of  the  canto  fermo,  a 
kind  of  harmony  fimple  and  unadorned,  and  in  the  performance 
fcarcely  above  the  capacities  of  thofe  who  in  finging  had  no  other 
guide  than  their  ear  and  memory ;  in  {hort,  a  fpecies  of  mufic  that 
derived  not  the  leaft  advantage  from  any  difference  among  themfelves 
in  refped:  of  the  length  or  duration  of  the  notes,  which  all  men 
know  is  an  inexhauflible  fource  of  variety  and  delight. 

But  the  affigning  of  different  lengths  to  founds,  the  invention  of 
paufes  or  refls,  the  eflablifhment  of  metrical  laws,  and  the  regulating 
the  motion  of  a  great  variety  of  parts  by  the  taftus  or  beat,  whereby 

Vol.  III.  K  an 


66  HISTORY    OF    THE    SCIENCE       Book  I. 

an  union  of  harmony  and  metre  was  cfFeded,  were  improvements  of 
great  importance  ;  from  thefe  fprang  the  invention  of  fugue  and 
canon,  and  thqfe  infinitely  various  combinations  of  tone  and  time 
which  diftinguifh  the  canto  figurato  from  the  canto  fermo,  or  eccle- 
iiailical  plain-fong. 

The  principal  motive  to  thefe  Improvements  was  undoubtedly  the 
great  encouragement  given  to  ftudents  and  profeflbrs  of  mufic  by 
the  court  of  Rome.  Thofe  writers,  who,  to  palliate  the  vices  of 
Leo  X.  infifl  on  his  love  of  learning,  and  the  patronage  afforded 
by  him  to  the  profefTors  of  all  the  finer  arts,  afcribe  the  perfedion  of 
mufic  among  the  reft  to  his  munificence  ;  but  in  this  they  are  mif- 
taken  ;  an  emulation  to  promote  mufic  prevailed  at  this  time  through- 
out Europe,  and  the  temporal  princes  were  not  lefs  difpofed  to  favour 
its  improvement  than  even  the  pontiffs  themfelves  j  our  own  Henry 
VIII.  not  only  fur.g,  but  was  pofiefi^ed  of  a  degree  of  fkill  in  the  art 
of  practical  compofition  equal  to  that  of  many  of  its  ableft  profefTors, 
^s  appears  by  many  of  his  works  now  extant.  Francis  the  Firft  of 
France  reckoned  Joannes  Mouton,  his  chapel-mafter,  and  Crequilon 
among  the  chief  ornaments  of  his  court ;  and  the  emperor  Charles  V. 
by  his  bounty  to  muficians  had  drawn  many  of  the  moft  celebrated 
then  in  Europe  to  fettle  in  Germany  and  the  Low  Countries. 

Such  was  the  general  flate  of  the  church-fervice  in  Europe  In  the 
age  immediately  preceding  the  Reformation,  at  the  time  whereof  it 
is  well  known  choral  mufic  underwent  a  very  great  change  j  the  na- 
ture of  this  change,  and  the  precife  difference  between  the  Romilh 
and  the  other  reformed  churches  in  this  refped:  will  befi.  appear  by  a 
comparifon  of  their  feveral  offices  ;  neverthelefs  a  very  curfory  view 
of  the  Romifh  ritual,  particularly  of  the  mifi'al,  the  gradual, 
and  the  antiphonary  will  ferve  to  fhew  that  the  greater  part 
of  the  fervice  of  that  church  was  fung  to  mufical  notes.  In  the 
Antwerp  edition  of  the  mifial,  printed  MDLXXVIII.  conformable 
^o  the  decree  of  the  council  of  Trent,  the  fufl^'rages  and  refponfes  are 
printed  with  notes,  which  are  included  within  a  ftave  of  four  red 
lines.  The  offices  in  ufum  Sarifburienfis,  as  they  are  termed,  con- 
tained in  the  Mifi^al,  the  Manual,  the  Proceifional,  and  other  books, 
nay  even  thole  for  the  confecration  of  lalt,  of  water,  tapers,  and  afijes, 
are  in  li';e  manner  printed  with  mufical  notes.  Thefe  it  mufl  he 
fuppofed,  as  they  are  for  the  moft  part  extremely  plain  and  fimple, 
were  intended  for  common  and  ordinary  occafionsj  in  fhort,  they  are 

that 


Chap.4.       AND    PRACTICE    OF   MUSIC.  67 

that  kind  of  plaln-chant  which  is  eafily  retained  in  the  memory,  and 
in  which  the  whole  of  a  congregation  might  without  any  difTonancc 
or  confufion  join. 

But  the  fplendor  and  magnificence  of  the  Romifli  worfhip  is  only 
to  be  judged  of  by  the  manner  of  celebrating  divine  fervice  upon 
great  feftivals,  and  other  folemn  occafions,  and  that  too  in  cathedrals 
and  conventual  churches,  and  in  thofe  abbies  and  monafteries  where 
either  the  munificence  of  the  ftate,  or  an  ample  endowment,  afforded 
the  means  of  fuftaining  the  expence  of  a  choir.  In  thefe  cafes  the 
mafs  was  fung  by  a  numerous  choir,  compofed  of  men  and  boys, 
fufficiently  fkilled  in  the  pradiceof  choral  fervice,  to  mufic  of  a  very 
elaborate  and  artificial  contexture;  in  the  compofition  whereof  the 
ftri(ft  rules  of  the  tonal  melody  were  difpenfed  with,  and  the  greatefl: 
latitude  was  allowed  for  the  exercife  of  the  powers  of  invention. 

However,  this  mode  of  folemn  fervice  was  not  reftrained  to  cathe-- 
dralj  collegiate,  and  conventual  churches,  it  was  pradtifed  alfo  in  the 
royal  and  univerfity  chapels,  and  in  the  domeftic  chapels  of  the  dig- 
nitaries of  the  church,  and  of  the  higher  orders  of  nobility.  Caven- 
difli,  in  his  life  of  cardinal  Wolfey,  relating  the  order  and  offices  of 
his  houfe  and  chapel,  gives  the  following  account  of  the  latter  : 

'  Now  Iwill  declare  unto  you  the  officers  of  his  chapel,  and  fing- 

*  ing-men  of  the  fame.     Firft,  he  had  there  a  dean,  a  great  divine, 

*  and  a  man  of  excellent  learning  j  and  a  fubdean,  a  repeatour  of  the 

*  quire,  a  gofpeller  and  epiftollerj  of  finging  priefts  ten.    A  m after  of 

*  the  children.     The   feculars  of  the  chapell,  being    finging-men, 

*  twelve.     Singing  children  ten,  with  one  fervant  to  waite  upon  the 

*  children.     In  the  veftry  a  yeoman  and  two  grooms;  over  and  be- 
'  fides  other  retainers  that  came  thither  at  principal  feafts.     And  for 

*  the  furniture  of  his  chapel,  it  pafi^eth  my  weak  capacity  to  declare 

*  the  number  of  the  coftly  ornaments  and  rich  Jewells  that  were  oc- 
'  cupied  in  the  fame.     For  I  have  feen  in  procefjion  about  the  hall 

*  forty-four  rich  copes,  befides  the  rich  candlefticks  and  other  ne- 

*  ceflary  ornaments  to  the  furniture  of  the  fame.' 

Befides  the  higher  dignitaries  of  the  church,  fuch  as  the  archbifliop 
of  Canterbury,  the  bifhops  of  Durham  and  Winchefier,  while  thofe 
bifhopricks  were  not  held  in  commendam  by  the  cardinal,  and  perhaps 
fome  others,  whofe  ftation  might  require  it,  there  were  feveral  among 
the  principal  nobility  who  feemed  to  emulate  Wolfey  in  this  par- 
ticular, and  had  the  folemn  choral  fervice  performed  in  the  chapels  of 

K  2  their 


U  HISTORY    OF    THE    SCIENCE        BookL 

their  refpedive  palaces  and  houfes.  One  of  thefe  was  the  earl  of  Nor- 
thumberland, whofe  great  poffeflions  and  ample  jurifdidtion  feem  to 
have  been  adequate  to,  and  to  warrant  every  degree  of  magnifi- 
cence under  that  of  a  king  ;  for  it  appears  that  at  the  feat  of  the  earl 
of  Northumberland,  contemporary  with  Wolfey,  there  was  a  cha- 
pel, in  which,  to  judge  from  the  number  and  qualifications  of 
the  perfons  retained  for  that  purpofe,  it  fliould  feem  that  choral 
fervicc  was  performed  with  the  fame  degree  of  folemnity  as  in  cathe- 
dral and  conventual  churches.  The  evidence  of  this  fa6l  is  contained 
in  an  ancient  manufcript  of  the  Percy  family,  purporting  to  be  the 
regulations  and  eftablilhrnent  of  the  houQiold  of  Henry  Algernon 
Percy,  the  fifth  earl  of  Northumberland,  at  his  caftles  of  Wrefill  and 
Lekingfield  in  Yorkfliire,  begun  anno  domini  MDXII.  By  this  it 
appears  that  the  earl  had  his  dean  and  fubdean  of  the  chape),  a  gof- 
peller  and  piftoler,  gentlemen  and  children  of  the  chapel,  an  organ- 
ift,  and,  in  (hort,  the  fame  officers  and  retainers  as  were  employed  in 
the  royal  and  other  chapels  j  and  as  to  their  number,  it  appears  by 
the  following  entries  in  the  manufcript  above  referred  to. 

«  Gentyllmen  and  Childeryn  of  the  Chapell. 

*  Item.     Gentyllmen  and  childryn  of  the  chapell  xiiij,  viz.  gtn^ 

*  tyllmen  of  the  chapell  viii,  viz.  ij  bafiys,  ij  tenors,   and  iiij  coun- 

*  tertenours — yoman  or  grome  of  the  veftry  j — childeryn  of  thecha-. 

*  pell  V,  viz.  ij  tribills  and  iij  meanys — xiiij. 

*  Gentilmen  of  the  chapel  ix,  viz.  the  maifler  of  the  childre  j — • 

*  tenors  ij — countertenors  iiij — the  piftoler  j^ — and  oone  for  the  or-. 

*  gayns — childer  of  the  chapell  vj.' 

The  wages  of  the  dean,  the  gentlemen,  and  the  children  of  the 
chapel,  are  thus  afcertained. 

*  The  dean  of  the  chapel  iiijl.  if  he  have  it  in  houfholde  and  not 

*  by  patentt  *. 

*  Gentillmen  of  the  chapel  x,  as  to  fay  two  at  x  marc  a  pece — 

*  three  at  iiijl.  a  pece — two  at  v  marc  a  pece— ^oone  at  xls. — and 
«  oone  at  xxs.  viz.  ij  baflys,  ij  tenors,  and  vj  countertenors — ^childe- 
4  ryn  of  the  chapell  vj,  after  xxv  s.  the  pece, 

•  The  wages  of  the  dean,  confidering  the  dignity  of  his  ftation,  feena  greatly  difpropor- 
tionate  to  thofe  of  the  gentlemen  of  the  chapel,  two  of  whom  are  affigned  ten  marks,  or  61. 
13s.  4d,  a-|)iece:  what  was  the  difference  between, having  the  oilice  in.houfhold  and  by  pa- 
tent «Joes  not  appear  j  if  it  could  be  afcertaiiied  it  n:jight  account  for  this,  feeming  inequality. 

<.The 


Chap.  4-       AND    PRACTICE    OF    MUSIC.  69 

'  The  gentlemen  ande  childrin  of  my  lordis  chapell  whiche  be  not 
'  appointid  to  attend  at  no  tyme,  but  oonely  in  exercifing  of  Goddis 

*  fervice  in  the  chappell  daily  at  Mattins,  Lady-Mafs,   Highe-Mafs, 
-*  Even-fonge,  and  Complynge. 

*  Gentlemen  of  my  lordis  chappell. 

Furft.  A  bafs. 

Item.  A  feconde  bafs. 

Item.  The  thirde  bafs. 

Item,  A  maifler  of  the  chllder,  a  countertenor. 

Item.  A  feconde  countertenour. 

Item.  A  thirde  countertenour. 

Item.  A  iiljth  countertenour. 

Item.  A  ftanding  tenour. 

Item.  A  feconde  ftanding  tenour* 

Item.  A  iijd  flandyng  tenour. 

Item.  A  fourth  (landing  tenour* 

«  Childrin  of  my  lordis  chappell. 
Item.     The  fyrft  child  a  trible 
Item.     The  ijd  child  a  trible. 
Item.     The  iijd  child  a  trible. 
Item.     The  iiijth  child  a  fecond  trible. 
Item.     The  vth  child  a  fecond  trible. 
Item.     The  vjth  child  a  fecond  trible. 
The   noumbre  of  thois  parfons  as  childrin  of  my  lordis  chap- 

*  pel  vj.' 

The  wages  or  ftipends  feverally  affigned  to  the  gentlemen  and  chil- 
dren of  the  above  eftablifhment  have  already  been  mentioned  ;  pro- 
vifion  was  alfo  made  for  their  maintenance  in  this  noble  family,  as 
appears  by  the  following  articles  refpeding  their  diet. 

*  Braikfail  in  Lent  for  ij   meas  [mefs]  of  gentilmen  o'  th'  chapeJ, 

*  and  a  meas  of  childeryn,  iij  loofs  of  brede,  a  gallon  dimid  [half]  of 

*  here,  and  iij  peces  of  fait  fi{h  or  ells,  iiij  white  herryng  to  a  meas — 

And  in  another  place  their  ordinary   breakfaft  is  directed   to   be 

*  iij  loif  of  houfhold  bred,  a  gallon  dimid  of  here,  and  iij  peces  of 

*  heif  boy.lid. — j 

c Braik-- 


70  HISTORY    OF    THE    SCIENCE       Book  I. 

*  ■  Braikfafts  for  ij  meas  of  gentilmen  o'  th'  chappel,  and  a 

*  meas  of  childer,  iij  loifs  of  houlliold  breid,  a  gallon  dimid  of  here, 

*  and  a  pece  of  falt-fifche. 

*  Service  for  iiij  meafe  of  gentyllmen  and  chlldre  of  the  chapell  at 

*  fuppar  upon  Tewlfday  in  the  Rogacion  days,  furfl:  x  gentylmen  and 

*  vj  childre  of  the  chapel  iiij  meas. 

*  Service  for  gentylmen  and  childer  o'  th'  chapell,  to  every  meas  a 

*  loof  of  bred,  a  pottell  of  here,  half  a  dyfch  of  buttre,  and  a  pecc  of 

*  faltt-fifche,  viij  dyfchis  *.' 

Befides  thefe  affignments,  they  had  alfo  liveries  of  white  or  wax- 
lights,  of  fagots,  and  of  coals  for  fewel  ;  provifion  was  aUb  made  for 
the  wafhing  of  Albes-f-and  furplices  for  the  gentlemen  and  children  of 

*  The  regimen  of  diet  prefcrlbcd  by  the  book  from  which  the  above  extracts  are  made, 
was,  with  a  few  variations  extended  to  the  whole  family  :  the  following  regulations  refpefl 
the  breakfafts  of  the  earl  and  the  countefs  and  their  children  during  Lent : 

'  Braikfafl  for  my  lorde  and  my  lady. 

*  Furfl,  a  loifof  brede  in  trenchors,  ij  manchetts,  a  quart  of  here,  a  quart  of  wyne,  ij 

*  pecys  of  falt-fifch,  vj  baconn'd  herryng,  iiij  white  herryng,  or  a  difch  of  fproits — ^j. 

<  Braikfafie  for  my  lorde  Percy  and  maifter  Thomas  Percy. 

*  Item,  half  a  loifof  houfehold  brede,  a  manchet,  a  potell  of  here,  a  dyfch  of  butter, 

*  and  a  pece  of  fak-fifli,  a  dyfch  of  fproits,  or  iij  white  herrynge — j. 

'  Braikfafte  for  the  nurcy  for  my  lady  Margaret  and  maifter  Ingeram  Percy. 

*  Item,  a  manchet,  a  quarte  ofbere,  a  dyfch  of  butter,  a  pece  of  faltfifch,  a  dyfch  of 
<  fproitts,  or  iij  white  herryng— j. 

And,  excepting  the  feafon  of  Lent  and  fifli-days,  the  ordinary  allowance  for  this  part  of 
the  family  throughout  the  year  was  as  follows : 

*  Braikfaftis  of  flefch  days  dayly  thorowte  the  yere. 

'  Braikfaftis  for  my  lorde  and  my  lady. 

*  Purft,  a  loof  of  brede  m  trenchors,  ij  manchetts,  j  quart  of  here,  a  quart  of  wyne, 

*  half  a.chyne  of  muton,  or  ells  a  chyne  of  beif  boiled — -j. 

*  Braikfaftis  for  my  lorde  Percy  and  Mr.  Thomas  Percy.* 

*  Item  halfe  a  loif  of  houfeholde  breide,  a  manchet,  j   potell  of  bere,  a  chekynge  or 

*  ells  iij  mutton  bonys  boiled— j. 

<  Braikfafts  for  the  nurcy  for  my  lady  Margaret  and  Mr.  Yngram  Percy. 
'  Item,  a  manchet,  j  quarte  ofbere,  and  iij  mutton  bonys  boiled.' 

The  fyftem  of  houfliold  ceconomy  eftabliflied  in  this  family  muft  be  fuppofed  to  corref- 
pond  with  the  pra61ice  of  the  whole  kingdom,  and  enables  us  to  trace  the  progrefs  of  re- 
finement, and  in  fnort,  to  form  an  eftimate  of  national  manners  at  two  remote  periods. 

f  The  Alb  is  a  white  linen  garment,  and  is  frequently  miftaken  for  the  furplice, 
though  the  rubric  at  the  end  of  the  firft  liturgy  of  Edward  VI.  and  alfo  that  before  morn- 
ing-prayer in  the  fecond  liturgy  of  the  fame  king,  has  clearly  diftinguiftied  between  then  ; 

but 


Chap.  4.      AND    PRACTICE    OF    MUSIC,  71 

the  chapel,  and  alfo  of  altar-cloths ;  the  times  of  wafhing  them  were 
regulated  by  the  feftivals  that  occur  in  the  courfe  of  the  year,  and  the 
rate  of  payment  to  the  launderer  was  a  penny  for  every  three  far- 
plices.  The  whole  expence  of  washing  linen  for  the  chapel  as  thus 
afcertained,  was  eftimated  at  feventeen  (liillings  and  four  pence  a 
year,  and  the  amount  of  the  chapel-wages  for  a  year  was  thirty-five 
pounds  fifteen  {hillings. 

*  The  orderynge  of  my  lordes  chapell  in  the  queare  at  mattyngis, 

*  mafs,  and  evynfonge.     To  ftonde  in  ordure  as  hereafter  followeth, 

•  fyde  for  fyde  daily. 


*  The  deane  fide. 

*  The  Deane. 

*  The  fubdeane. 
«  A  bafi^e. 

'  A  tenor. 

*  A  countertenor. 

*  A  countertenor. 

*  A  countertenor. 


*  The  feconde  fide. 

The  Lady-malfe  pried. 

The  gofpeller. 

A  bafle. 

A  countertenor. 

A  countertenor. 

A  .tenor. 

A  countertenor. 

A  tenor. 


*  The  ordurynge  of  my  lordes  chappell  for  the   keapinge   of  our 
*  Ladyes  mafle  thorowte  the  weike. 


*  Sonday. 

*  Mafter  of  the  Childer  a  coun- 
*  tertenor. 

*  A  tenour. 

*  A  tenour. 
«  A  bafiTe. 


*  iMonday. 

Mafter  of  the  Childer  a  Coun- 
'  tertenor. 

*  A  countertenour. 

*  A  counter-tenour. 
'A  tenor. 


but  as  defcribed  by  Durandu?,  Ration.  Divin.  Officior.  lib.  III.  cap.  iii.  De  Tunica,  it 
is  a  garment  made  fit  and  clofe  to  the  body,  tied  round  the  waift  of  the  wearer  with  a  gir- 
dle or  fafh.  In  the  pidlure  of  the  communion  of  St.  Jerome  by  Dominichino,  of  which 
there  is  a  fine  print  by  Jacomo  Frey,  is  the  figure  of  a  young  man  kneeling,  with  a  book 
under  his  arm,  having  for  his  outer  garment  an  alb.  The  Alb  was  anciently  embroidered 
with  various  colours,  and  ornamented  with  fringe.  See  Bingham's  Antiquities,  bookXIH. 
chap.  viii.  §  2.     Wheatley  on  the  Common  Prayer,  chap.  II.  fed  4. 

'  Twifday. 


72 


HISTORY    OF    THE    SCIENCE       Book  L 


'  Twifday. 

*  Mafter  of  the  childer  a  coun- 
•  tertenour. 
'  A  countertenonr. 

*  A  countertenour. 

*  A  tenour. 

*  Thurfdaie. 

'  Mafter  of  the  childer  a  coun- 
'  tertenor. 

*  A  countertenoure. 

*  A  countertenoure. 
'  A  tenoure, 

*  Satturday. 

'  Mafter  of  the  childer  a  coun- 
*  tertenor. 

*  A  countertenor. 

*  A  countertenour. 

*  A  tenour. 


*  Wedynfday. 

*  Mafter  of  the  childer  a  coun- 

*  tertenor. 

'  A  countertenour. 

*  A  tenour. 
«  A  bafie. 

*  Fry day. 

*  Mafter  of  the  childer  a  coun- 

*  tertenor.  - 

*  A  countertenour. 

*  A  countertenour. 
*.  A  bafle. 

*  Fryday. 

*  And  upon  the  faidc  Friday 

*  th'ool  chapell,  and  evry  day 
«  in  the  weike  when  my  lord 

*  ftiall  be  prefent  at  the  faide 

*  mafte. 


The  orduringe  for  keapinge  welkly  of  the  orgayns   one  after   an 
<  outher  as  the  namys  of  them  hereafter  foUowith  vveikly. 

«  The  maifter  of  the  childer,  yf  he  be  a  player,  the  firft  weke. 

«  A  countertenor  that  is  a  player  the  ijde  weke. 

«  A  tenor  that  is  a  player  the  thirdc  weike. 

«  A  baffe  that  is  a  player  the  iiijth  weike. 

«  And  every  man  that  is  a  player  to  keep  his  cours  weikly.' 


CHAP. 


V. 


IT  is  probable  that  Wolfey  looked  upon  this  eftabliftiment  with  a  jea- 
lous eye.  The  earl  might  be  faid  to  be  his  neighbour,  at  leaft  he 
lived  in  the  cardinal's  diocefc  of  York,  and  fuch  emulation  of  ponti- 
fical magnificence  in  a  layman  could  hardly  be  brooked  -,  be  that  as  it 

may, 


Chap.  5.      AND    PRACTICE    OF    MUSIC.  y^j 

■  may,  it  Is  certain  that  upon  the  deceafe  of  the  above-mentioned  earl 
of  Northumberland,  the  cardinal's  intention  was  to  deprive  his  fuc- 
cefTor  of  the  means  of  continuing  the  folemn  fervice  in  the  family,  by 
requiring  of  him  the  books  ufed  in  the  chapel  of  his  father  :  what  pre- 
text he  could  frame  for  fuch  a  demand,  or  what  reafons,  other  than 
the  dread  of  offending  him,  might  induce  the  young  earl  to  comply 
with  it,  it  is  not  eafy  to  guefs,  but  the  books  were  delivered  to  him» 
and  the  earl  had  no  other  refource  than  the  hope  of  being  able  one  time 
or  other  to  fet  up  a  chapel  of  his  own,  which  he  expreffes  in  a  letter 
to  one  of  his  friends,  yet  extant  in  the  Northumberiajid  family,  a 
copy  whereof  is  given  below*. 

*  '  Bedfellowe. 
'  After  my  moft  harte  recomendaclon  :  thys  Monday  the  iijd  off  Auguft  I  refevyd  by 

<  my  fervaunt  letters,  from  yowe  beryng  datt  the  xxth  day  off  July,  deleveryd  unto  hym  the 

*  fayme  day,  at  the  kyng's  town  of  Newcaftell  ;  wherin  I  doperfeayffmy  lord  cardenalls 

*  pleafour  ys   to  have  fuch  boks  as  was  in  the  chapell  of  my  lat  lord  and  fayther,  (vvos 

*  foil  Jhefu  pardon)  to  the  accomplyfliement  off  which  at  your  defyer  I  am  confformable, 

<  notwithftandyng  I  truft  to  be  abell  ons  to  fet  up  a  chapell  off  myne  owne,  but  1  pr^y 
'  God  he  may  look  better   upon  me  than  he  doth.     But  methynk  I  have  loft:  very  moch 

*  ponderyng  yt  ys  no  better  regardyd  ;  the  occafion  wheroff  he  flull  perfeayff. 

'  Fyrft,  the  long  lyeng  off  my  trefforer  ;  with  hys  very  hafty  and  unkynd  words  unto 

*  hym,  not  on  my  parte  defervyd. 

*  Alfo  the  news  of  Mr.  Manyng,  the  whych  ys  blon  obroud  ouer  all  Yorkfher  ;  that  ney- 

*  ther  by  the  kyng  nor  by  my  lord  cardenall  I  am  regardyd  ;  and  that  he  wyll  tell  me  at  my 

*  metyng  with  hym,  whan  1  com  unto  Yorkfher ;  whych  (hall  be  within  thys  month,  God 

*  wyliyng  j  but  I  ffer  my  words  to  Mr.  Manyng  (hall  defpleas  my  lord,  ffor  I  wyll  be  no 

*  ward. 
'  Alfo,  bedfellow,  the  payns  I  tayk  and  have  takyn  fens  my  comyng  hether  are  not  better 

regardyd,  but  by  a  fflaterynge  byfhopeoffCarell  [Carlifle]  and  that  fals  worm  [William 
Worme  undermentioned]  iball  be  broth  [brought]  to  the  meffery  and  carffuinefs  that  I 
am  in  ;  and  in  fuch  {landers,  that  now  and  my  lord  cardenall  wold,  he  can  not  bryng  me 
howth  [out]  thereoff. 

****** 

*  I  fhall  with  all  fped  fend  up  your  lettrs  with  the  books  unto  my  lords  grace,  as  to  fay,- 
iiij  anteffonars  [antiphonars],  fuch  as  I  thynk  wher  nat  feen  a  gret  wyll ;  v  grails  [gradualsj 
an  ordeorly  [ordinal],  a  manual,  viij  proffeffioners  [proceffionalsj,  and  ffor  all  the  reffi- 
dew,  they  are  not'worth  the  fending,  nor  ever  was  occupyed  in  my  lords  chapel.  And 
alfo  I  {hall  wryt  at  this  tyme  as  ye  have  wylled  me. 

'  Yff  my  lords  grace  wyll  be  fo  i:ood  lord  unto  me  as  to  gyff  me  lychens  [lycencc]  to 
put  Wyllm  Worme  within  a  caftell  of  myn  off  Anwyk  in  affurty,  unto  the  tyme  he 
have  accomptyed  ffor  more  money  reed  than  ever  I  reed,  1  {hall  gyff  hys  gr;ice  ij  C.H. 
and  a  benyfHs  off  a  C  worth  unto  his  colleyg,  with  fuch  other  thyngs  referved  as  his 
[grace]  {liall  defyre;  but  unto  fuch  tyme  as  myne  awdytors  hayth  takyn  accompt  off  him: 
wher  in,  good  bedfellow,  do  your  beft,  ffor  els  he  fhall  put  us  to  fend  mylelff,  as  atowr 
metyng  I  (hall  {how  yow. 

*  And  alfo  gyff  fecuer  credens  unto  this  barer,  whom  I  alfur  yow  1  have  ffonddon  a 
marvellous  honeft:  man  as  ever  I  ffownd  in  my  lyff.  In  haft:  at  my  moneftary  off  Hul- 
Park  the  iijd  day  of  Auguft.    In  the  owne  hand  off"  Yours  ever  affured 

*  To  my  bedfellow  A rundell.  H.  Northumberland  ' 

Vol.  III.  L  This 


74  HISTORY    OF    THE    SCIENCE       Book  I; 

From  the  foregoing  account  of  the    rife  and   progrefs  of  chorafc 
mufic,  it  appears,  that  notwithllanding  the  abufes  that  might  na- 
turally be  fuppofed  to  arife  from  an  over  zeal  to  improve  and  culti- 
vate it,  and  in  fpite  of  the  arguments  and  objedlions  from  time  to  time, 
urged  againft  it,  as  a  pradice  tending  rather  to  the  injury  than  the. 
advanta^^e  of  religion,  it  not   only   was  capable  of  maintaining  its 
ground,  but  by  the  middle  of  the  fixteenth  century  was  arrived  at 
great  perfedlion.     It  farther  appears   that  the  objections  againft  it,.. 
many  of  which  were  urged  with  a  view  to  banifli  mufic,  or  at  leafl;> 
antiphonal  (Tnging,  from  the  church-fervice,  produced   an  effed  di- 
redtly  the  contrary,  and  w^re  the  caufe  of  a  reformation  that.  con-~ 
duced  to  its  eftablidiment. 

For  it  fee ms  the  objedions  againft  choral  fervice  had  acquired  fuch; 
weight,  as   to  be  thought  a  fubjed  worthy  the  deliberation  of  the 
council  of  Trent,  in  which  affembly  it  was  urged  as  one  of  the  abufes 
in  the  celebration  of  the  mafs,  that.=hymns,  fome  of  a  profane,  and 
others  of  a  lafcivious  nature,  had  crept  into  the  fervice,  and  hadgiven^ 
great  fcandal  to  the  profeflbrs  of  religion.      The  abufes  complained  of 
were  feverally  debated  in  the  council,  and  were  reformed   by   that 
decree,  under  which  the  form  of  the  mafs  as  now  fettled  derives  its- 
authority. 

It  is  eafy  to  difcern  that  by  this  decree  choral  fervice  acquired  a- 
fandion  which  before  it  wanted  :  till  the  time  of  paffing  it  the  prac-^ 
tice  of  fiDging  in  churches  refted  folely  on  the-arguments  drawn  from, 
the  ufage  of  the  Jews,  and  the  exhortations  contained  in  thofe  paf- 
fao-es  in  the  epiftles  of  St.  Paul,  which  are  conftantly  cited  to  prove  it-, 
lawful  J  but  this  ad  of  the  council,  which  by  profeffing  to  redify 
abufes,  aliumes  and  recognizes  the  pradice,  is  as  ftrong  an  aflertion 
of  its  lawfulnefs  and  expediency  as  could  have  been  contained  in  the . 
moll:  pofitive  and  explicit  declaration. 

This  refolution  of  the  council  of  Trent,  an  afifembly,  if  we  may  be- 
lieve fuch  writers  as  Pallavicini,  and  others  of  his  communion,  the- 

Thls  earl  of  Northumberland  was  Henry  Percy,  the  lover  of  Anne  Boleyn  ;  the  perfon 
to  whom  the  letter  is  addrefied  was  Thomas  Arundel,  one  of  the  gentlemen  of  the  privy- 
cbamber  to  cardinal  Wolfey.  There  is  another  letter  from  the  earl  to  the  fame  perfon  re- 
lating to  Fountains  Abbey  in  Yorkfliire,  in  a  curious  work  now  publifhing,  Mr.  <^rofe's^ 
Antiquities  of  England  arid  Wales,  Numb.  XIII. 

mofl: 


Chap.  5-       AKD    PRACTICE    OF    MUSIC.  75 

moft  auguft  and  awful  that  ever  met  for  any  purpofe  whatever^  and 
adting,  as  they  farther  ^{Tert,  under  the  immediate  dire<5tion  and  in- 
fluence of  that  fpirit  which  Chrift  has  faid  fliall  remain  with  his 
church,  could  hardly  fail  of  exciting  a  mod  profound  veneration  for 
choral  mulic  in  the  members  of  the  Romifh  church.  Nor  did  it  pro- 
duce in  the  leaders  of  the  Reformation  that  general  averfion  and  ab- 
horrence, which  in  many  other  inftances  they  difcovered  againd  the 
determinations  of  that  tribunal,  in  all  human  probability  the  laft  of 
the  kind  that  the  world  will  ever  fee  :  on  the  contrary,  the 
Lutherans  in  a  great  meafure  adopted  the  Romifh  ritual,  they  too  re- 
formed the  mafs,  and  as  to  the  choral  fervice,  they  retained  it,  with 
as  much  of  the  fplendor  and  magnificence  attending  it  as  their  parti- 
cular circumftances  would  allow  of. 

It  mufl  be  confefTed  that  the  difference  betw^een  the  mufic  of  the 
Romifh  and  reformed  churches  is  in  general  very  great ;  but  it  is  to  be 
remarked  that  fome  of  the  reformed  churches  differ  more  widely  from 
that  of  Rome  than  others.  The  church  of  England  retains  fo  much 
of  the  ancient  antiphonal  method  of  finging,  as  to  afford  one  pre- 
tence at  leafl  for  a  feparation  from  it ;  and  as  to  the  Lutheran  and 
Calviniftic  churches,  whatever  may  be  their  pradice  at  this  day, 
thofe  perfons  greatly  err  who  fuppofe  that  at  the  time  of  their  efla- 
blifhment  they  were  both  equally  averfe  to  the  ceremonies  of  that  of 
Rome.  In  fhort,  in  the  feveral  hiftories  of  the  Reformation  we  may 
<3ifcern  a  manifefl  difference  between  the  condud:  of  Luther  and  Cal- 
vin with  refped  to  the  work  they  were  jointly  engaged  in  ;  the  latter 
of  thefe  made  not  only  the  dodrine  but  the  difcipline  of  the  church 
of  Rome  a  ground  of  his  feparation  from  it,  and  feemed  to  make  a 
dired  oppofition  to  popery  the  meafure  of  his  reformation  ;  accord- 
ingly he  formed  a  model  of  church  government  fuited  to  the  exi- 
gence of  the  times ;  rejeded  ceremonies,  and  abolifhed  the  mafs,  an- 
tiphonal finging,  and,  in  a  word,  all  choral  fervice,  inflead  of  which 
latter  he  inflituted  a  plain  metrical  pfalmody,  fuch  as  is  now  in  ufe  in 
mofl  of  the  reformed  churches. 

But  Luther,  though  a  man  of  a  much  more  irafcible  temper  than 
his  fellow-labourer,  and  who  had  manifefled  through  the  whole  of 
his  oppofition  to  it  a  dauntlefs  intrepidity,  was  in  many  inflances 
difpofed  to  temporize  with  the  church  of  Rome;  for  upon  a  review 

L  2  of 


76  HISTORY    OF    THE    SCIENCE        Book  I. 

of  his  condud  it  will  appear,  firft,  that  he  oppofed  with  the  utmoft 
vehemence  the  doctrine  of  indulgences  ;  that  he  afTerted  not  only  the 
pofTihility  of  falvation  through  faith  alone,  but  maintained  that  good 
works  without  faith  were  mortal  fins,  and  yet  that  he  fubmitted  thefe 
his  opinions  to  the  judgment  of  the  Pope,  protefling  that  he  never 
meant  to  queftion  his  power  or  that  of  the  church.  In  the  next  place 
he  denied  the  real  prefence  of  Chrifl:  in  the  eucharlft,  but  yet  he  fub- 
Aituted  in  its  place  that  mode  of  exiftence  called  confubftantiation, 
which  if  not  tranfubfl;antiation,  is  not  lefs  difficult  than  that  to  conceive 
of.  Again,  although  he  denied  that  the  mafs  is  what  the  church  of 
Rome  declares  it  to  be,  a  propitiatory  facrifice,  and  was  fenfible  that, 
according  to  the  primitive  ufage,  it  was  to  be  celebrated  in  the  vulgar 
tongue,  that  the  people  might  underftand  it  >  he  in  a  great  meafure 
adopted  the  Romilli  ritual,  and  with  a  few  variations  permitted  the 
celebration  of  it  in  the  Latin.  He  allowed  alfo  of  the  ufe  of  cruci- 
fixes, though  without  adoration,  in  devotion,  and  of  auricular  confef- 
fion,  and  in  general  was  lefs  an  enemy  to  the  fuperftitious  rites  and 
ceremonies  of  the  church  of  Rome  than  either  Calvin,  Zuinglius,  or 
any  other  of  the  reformers. 

The  effc(St  of  this  divernty  of  opinions  and  condu(fl:  are  evident  m 
the  different  rituals  of  the  Lutheran  and  Cavinifllc  churches  in  Swit- 
7;erland,  France,  and  the  Low  Countries  ;  the  Pfalms  of  David  were 
the  only  part  of  divine  fervice  allowed  to  be  fung,  and  this  too  in  a 
manner  fo  fimple  and  plain,  as  that  the  whole  congregation  might 
join  in  it.  The  Lutherans,  on  the  contrary,  affedled  in  a  great  mea- 
fure the  pomp  and  magnificence  of  the  Roman  worfhip  j  they  ad- 
hered to  the  ufe  of  the  organ  and  other  inftrumentsi  they  had  in 
niariy  of  their  churches,  particularly  at  Hamburg,  Bremen,  and 
Hiffe  CafTel,  a  precentor  and  choir  of  fingers  j  and  as  to  their  mufic, 
it  was  not  much  lefs  curious  and  artificial  in  its  contexture  than  that 
of  the  church  of  Rome,  which  had  fo  long  been  a  ground  of  ob- 
jedion. 

Few  or  none  of  the  authors  who  have  written  the  hldory  of  the 
Reformation  have  been  fo  particular  as  to  exhibit  a  formulary  of  tha 
Lutheran  fervice.  Dr.  Ward,  in  his  Lives  of  the  Grefnam  Profefibrs, 
fays  *  that  the  Lutherans  feem  to  have  gone  much  the  fame  length 
'  in  retaining  the  folemn  fervice  as  the  church  of  England,  though 
*  with  more  inftruments  and  variety  of  harmony.'     But  the  truth  of 

the 


Chap.5.       AND    PRACTICE    OF    MUSIC.  ^j'j 

the  matter  is,  that  they  went  much  farther,  as  appears  by  a  book, 
which  can  be  confidered  no  otherwife  than  as  their  liturgy,  printed 
^  about  feven  years  after  Luther's  deceafe,  in  foHo,  with  the  following 
title,  *  Pfalmodia,  hoc  eft,  Cantica  facra  veteris  ecclefise  feleda.  Qao 
ordine,  et  melodiis  per  totius  anni  curriculum  cantari  ufitate  folent  in 
templis  de  Deo,  et  de  filio  ejus  Jesu  Christo,  de  regno  ipfius,  doe- 
trina,  vita,  palTione,  refurredione,  et  afcenfione,  et  de  Spiritu  Sando. 
Item  de  fandis,  et  eorum  in  Chriftum  fide  et  cruce.  Jam  primum  ad 
ccclefiarum,  et  fcholarum  ufum  diligenter  colleda,  et  brevibus  ac  piis 
fcholiis  illuftrata,  per  LucamLoffiun]  Luneburgenfem  *.  Cum  prs;fa- 
tionePhilippiMelanthonis.  NoribergJE  Apud  Gabriekm  Hayn,  Johan. 
Petrei  generum,  MDLIII.' 

From  this  book  it  clearly  appears  that  the  Lutherans  retained 
the  Mafs,  and  fundry  lefs  exceptionable  parts  of  the  Romifli  fer- 
vice,  as  namely,  the  hymns  and  other  ancient  offices  ;  a  few  of 
the  more  modern  hymns  are  faid  to  have  been  written  by  Lu- 
ther himfelf,  the  reft  are  taken  from  the  Roman  antiphonary,  gra- 
dual, and  other  ancient  rituals  ;  as  to  the  mufic,  it  is  by  no  means 
fo  ftrid  as  that  to  which  the  Romifh  offices  are  fung,  nor  does  it  feem 
in  any  degree  framed  according  to  the  tonic  laws  ;  and  it  is  highly 
probable  that  in  the  compofition  of  it  the  ableft  of  the  German  mu- 
ficians  of  the  time  were  employed.  Nay,  there  is  reafon  to  conjec- 
ture that  even  the  mufical  notes  to  fome  of  the  hymns  were  compofed 
by  Luther  himfelf,  for  that  he  was  deeply  {killed  in  the  fcience  is 
certain.  Sleidan  alferts  that  he  paraphrafed  in  the  High  German 
language,  and  fet  to  a  tune  of  his  own  compofition,  the  forty- fixth 
Pfalm  -f ,  *  Deus  nofter  refugium.'  Mr.  Richardfon  the  painter  men- 
tions a  pidure  in  the  colledion  of  the  grand  duke  of  Tufcany,  paint- 
ed by  Giorgione,  which  he  faw  when  he  was  abroad,  of  Luther  play- 
ing on  a  harpfichord,  his  wife  by  him,  and  Bucer  behind  him,  fine- 
ly drawn  and  coloured  J.  And  the  late  Mr.  Handel  was  ufed  to  fpeak 
of  a  tradition,  which  all  Germany  acquiefced  in,  that  Luther  com- 
pofed that  well-known  melody,  which  is  given  to  the  hundredth 
Pfalm  in  the  earlieft  editions  of  our  EngliOi  verfion,  and  continues 
to  be  fung  to  it  even  at  this  day. 

*  A  particular  account  of  Lucas  LofTius  is  given  in  a  fubfeq.uent  page  oftliis  volume, 
+  Comment,  de  Statu  lUligionis  et  Reipub.  fub  CarotoV.  Csefarc,  lib.  XVI. 
X  Account  of  Statues,  Bal's  Reliefs,  Drawings,  and  Piduies  in  Italy,  pag.  73. 

And 


78  HISTORY    OF    THE    SCIENCE       Book  I, 

And  though  this  tune  adapted  to  Plalm  cxxxiv.  occurs  in  Claude 
Le  Jeune's  book  of  Pfalm-tunes  in  four  parts,  publiflied  in  1613  by 
his  filler  Cecile  Le  Jeune,  there  is  not  the  lead  pretence  for  faying 
that  he  compofed  the  original  tenor.  Nay  the  felf- fame  melody  is 
alfo  the  tenor-part  of  Pfalm  cxxxiv.  in  the  Pfalms  of  Goudimel,  pub- 
lifhed  in  1603,  both  thefe  muficians  profeffing  only  to  adapt  the 
three  auxiliary  parts  of  cantus,  alius,  and  baflus,  to  the  melodies 
as  they  found  them. 

If  a  judgment  be  made  of  the  Lutheran  fervlce  from  the  book  now 
under  confideration,  it  mufl  be  deemed  to  be  little  lefs  folemn  than 
that  of  the  church  of  Rome;  and  from  the  great  number  of  offices 
contained  in  it,  all  of  which  are  required  to  be  fung,  and  according- 
ly they  are  printed  with  the  mufical  notes,  it  feems  that  the  compi- 
lers of  it  were  well  aware  of  the  efficacy  of  mufic  in  exciting  devout 
affedtions  in  the  minds  of  the  people.  The  love  which  Luther  enter- 
tained for,  and  his  proficiency  in  mufic,  has  been  already  mentioned 
in  the  courfe  of  this  work;  but  his  fentiments  touching  the  lawful- 
nefs  of  it  in  divine  wor(hip,  and  the  advantages  refulting  to  man- 
kind, and  to  youth  in  particular,  from  the  ufe  of  mufic  both  as  a 
recreation  and  an  incentive  to  piety,  are  contained  in  a  book,  known 
to  the  learned  by  the  name  of  the  Colloquia  Menfalia  of  Dr.  Martin 
XvUther,   the  fixty-eighth  chapter  whereof  is  in  thefe  words : 

*  Mufick,  faid  Luther,  is   one   of  the  faireft   and   moft   glorious 

*  gifts  of  God,  to  which  Satan  is  a  bitter  enemie  ;  therewith  many 

*  tribulations  and  evil  cogitations  are  hunted  away.     It  is  one  of  the 
'  beft  arts  ;  the  notes  give  life   to   the  text ;  it  expelleth  melancho- 

*  lie,  as  we  fee  on  king  Saul.  Kings  and  princes  ought  to  preferve  and 

*  maintain  mufick,  for  great  potentates  and  rulers  ought  to  protedt 

*  good  and  liberal  arts  and   laws  ;  and  altho  private  people  have  luft 

*  thereunto,  and  love  the  fame,  yet  their  ability  cannot  preferve  and 

*  maintain  it.     We  read  in  the  Bible  that  the  good  and  godly  kings 
«  maintained  and  paid  fingers.     Mufick  faid  Luther  is  the  beft  folace 

*  for  a  fad  and  forrowful  minde,  through  which  the  heart  is  refrefh- 

*  ed  and  fettled  again  in  peace,  as  is  faid   by  Virgil,  **  7'u  calamos 
*'  inflare  levest  ego  dicere  verjus :"  Sing  thou  the  notes  I  will  fing  the 

*  text.     Mufick  is  an  half  difcipline  and  fchool-mifi:refs,  that  maketh 

*  people   more  gentle  and  meek-minded,  more   modeft  and  under- 
^  ftanding.     The  bafe  and  evil  fidlers  and  minftrels  ferve  thereto, 

6  *  that 


€hap.  5.      AND    PRACTICE    OF   MUSIC.  79 

*'  that  we  fee  and  hear  how  fine  an  art  mufick  is,  for  white  can  never 

*  be  better  known  than  when  black  is  held  againll:  it.     Anno  1538, 

*  the  17th  of  December,  Luther  invited  the  fingers  and  muficians  to 

*  a  fupper,  where  they  fung  fair  and  fweet  Motet^e  *  ;  then  he  faid 
*'  with  admiration,  feeing  our  Lord  God  in  this  life  (which  is  but  a 
•■  mcer  Cloaca)  (liaketh  out  and  prefenteth  unto  us  fuch  precious  gifts, 

*  what  then  will  be  done  in  the  life  everlafting,  when  every  thing 
*■  flidl  be  made  in  the  moft  compleat  and  delightfulleft  manner !   but 

*  here  is  only  materia  primal  the  beginning.  I  always  loved  mufiek 
*'  faid  Luther.    Who  hath  fldll  in  this  art,  the  fame  is  of  good  kind, 

*  fitted  for  all  things.      We  muft  of  neceffity   maintain   mufick  in 

*  fchools  J   a  fchool-mafter  ought  to  have  fkill  in  mufick,  othcrwife  I 

*  would  not  regard  him;  neither  fhould  we  ordain  young  fellows  to 
*'  the  office  of  preaching,  except  before  they  have  been  well  exercifed 

*  and  pradtifed  in  the  fchool  of  mulick.     Mufick  is  a  fair  gift  of  God,, 

*  and  near  allied  to  divinity  j  I  would  not  for  a  great  matter,  faid 
*•  Luther,   be  defi:itute  of  the  fmall   fkill  in   mufick  which  I  have.- 

*  The  youth  ought  to   be    brought  up   and  accuftomed  in  this  art, . 

*'  for    it    maketh   fine    and    expert    people. Singing,    laid    Lu- 

*''ther>  is  the  beft  art  and  pradice  ;  it  hath  nothing,  to  do  with  the 
**  affairs  of  this  world  ;  it  is  not  for  the  law,  neither  are  fingers  full 
*■  of  cares,  but    merry,  they    drive   away    forrow  and    cares    with 

*  finging.  I  am  glad,  faid  Luther,  that  God  hath  bereaved  the 
••  countrie  clowns  of  fuch  a  great  gift  and  comfort  in  that  they  neither 
«'  hear  nor  regard  mufic. — Luther  once  bad  a  harper  play  fuch  a  lef- 
*^  fon  as  David  played  \  I  am  perfuaded,.faid  he,  if  David  now  arofe: 

*  TheMoTET  18  a  fpecies  of  vocal  harmony  appropriated  to  the  fervice  of  tbe  church. 
The  etymology  of  the  word  is  notealily  to  beafcertained  ;  Menage  derives  it  from  Modus, 
to  which  it  bears  not  the  leaft  affinity.   Butler,  a  motu,  becaufe,  lays  he,  *  the  church  fongs 

*  called  moteta  move  the  hearts  of  the  hearers,  ftriking  into  them  a  devout  and  reverent 
•■  regard  of  them  for  whofe  praife  they  were  made.'  On  Mufick,  pag.  5,  in  notis.  Mor- 
ley  feems  to  acquiefce  in  this  etymology,  but  underftands  motion  in  a  fenfe  different  from 
Butler,  as  appears  by  thefe  his  words  :  '  A  motet  is  properlic  a  fong  m::ide  for  the  church,  - 

*  either  upon  fome  hymne  or  anthem,  or  fuch  like  ;  and  that  name  I  take  to  have  been  • 

*  given  to  th^at  kinde  of  muficke  in  oppofiiion  to  the  other,  which  they  called  Ganto  fer- 
*-mo,  and  we  do  commonlie  call  plain-ion g, 'for  as  nothing  is  moreoppofit  to  ftandingand 
*'firmnefs  than  motion,  fo  did  they  give  the  motet  that  name  of  moving,  becaufc  it  is  in 
*a  manner  quight  contrarie  to  the  other,  which  after  fome  fort,  and  in  reipec^  of  theother,  > 

*  flandeth  ftill.'     Introd.  part  111.  pag.  179. 

Du  Gange,  voce  Motetu'm,  fays  that  though  this  kind  of  compofition    is  now  con* 
fined  to  the  church,  it  was  originally  of  the  moft  gay  and  lively  nature  j  an  opinion  aoj-> 
MiConfiilenl  with  the  definition  "of  4ie  woxd.. 


8o  HISTORY    OFTHE   SCIENCE       Book  I, 

*  from  the  dead,  fo  would  he  much  admire  how  this  art  of  mufick 

*  is  come  to  fo  great  and  an  excelling  height ;   (he  never  canie  higher 

*  than  now  (lie  is.      How  is  it,  faid  Luther,  that  in  carnal  things  we 

*  liave  fo  many  fine  poems,  but  in  fpiritual  matters  we  have  fuch  cold 

*  and  rotten  things  ?  and  then  he  recited  feme  German  fungs.      I  hold 

*  this  to  be  the  caufe,  as  St.  Paul  faith,  I  fee  another  law  refilling  in  my 

*  members  ;  thefe  fongs,  added  he,  do  not  run  in  fuch  fort  as  that  of 
**   Vita  ligno  7noritur"  which  he  much  commended,   and  faid  that  in 

*  the  time  of  Gregory  that  and  the  like  were  compofed,  and  were  not 

*  before  his  time.     They  were,  faid  he,   fine   minirters   and   fchool- 

*  mafters  that  made  fuch  verfes  and  poems  as  thofe  I  fpake  of,  and 
'  afterwards  alfo  preferved  them. — Marie  the  loving  mother  of  God 

*  hath  more  and  fairer  fongs   prefented  unto  her  by  the  Papifts  than 

*  her  childe  Jefus;  they  are  ufed  in  the  Advent  to  fing  a  fair  fequence 
*'  Mitt'itur  ad  Virginemy  Sec."  St.  Mary  was  more  celebrated  in 
'  grammar,  mufic,  and  rhetoric  than  her  childe  Jefus. — Whofo  con- 

*  temneth  mufic,  as  all  feducers  do,  with  them  faid  Luther  1  am 
'  not  content.     Next  unto  theology  I  give  the  place  and  highed  ho- 

*  nour  to  mufic,  for  thereby  all  anger  is  forgotten,  the  devil  is  driven 

*  away,   unchafiity,   pride,   and  other  blafphemies  by   mufic  are  ex- 

*  pelled.     We  fee  alfo  how  David  and  all  the  faints  brought  their  di- 

*  vine  cogitations,  their  rhymes  and  fongs  into  veife.    ^ia pacts  tern- 

<  pore  regnat  nmjica,  i.  e.  In  the  time  of  peace  mufic  flouriilies  *.' 

*  The  CoHoquia  Menfalia,  a  work  curious  in  its  kind,  as  it  exhibits  a  lively  portrait  of 
its  author,  will  hardly  now  be  thought  fo  excellent  either  tor  matter  or  form  as  to  jufUfy  that 
veneration  which  we  are  told  was  formerly  paid  to  it :  thefubjecl  of  it  is  mifcellaneous,and 
its  form  that  of  a  common  place.  In  flhort,  it  anfwers  to  thofe  colleclions  which  at  fundry 
times  have  appeared  in  the  world  with  the  titles  of  Scaligeriani,  Menagiani,  Parrhafiana, 
&c.  which  every  one  knows  are  too  much  in  the  ftvle  of  common  converfation  to  meritany 
great  degree  of  efleem,  and  in  fhort  are  calculated  rather  for  tranfient  amufement  than  in- 
ilrutlion.  But  the  publication  of  this  book  ^a  as  attended  with  feme  fuch  very  fingular  cir- 
cumftances  as  entitle  it  in  no  fmall  degree  to  the  attention  of  the  curious. 

The  fayings  of  Luther  were  firfl  colleCled  by  Dr.  Anthony  Lauterbach,  and  by  bim  writ- 
ten in  the  German  language.  Afterwards  they  were  difpofed  :nto  common  places  by  John 
Aurifaber,  docSlor  in  divinity.  A  tranflation  of  the  book  was  publiflied  at  London  in  1652, 
in  folio,  by  one  Captain  Henry  Bell  j  his  motives  for  undertaking  the  work  are  contained 
in  a  narrative  prefixed  to  it,  which  is  as  fojlows  : 

*  I  Captain  Henrie  Bell  do  hereby  declare  both  to  the  prefent  age  and  poflerity,  that 

*  being  employed  beyond  the  feas  in  ftate  affaires  diverfe  years  together,  both  by  king  James 

<  and  alfo  by  the  late  king  Charles,  in  Germany,  I  did  hear  and  underftand  in  all  places 

*  great  bewailing  and  lamentation  made  by  reafon  of  the  deflroying  and  burning  of  above 

*  fourfcore  thoufand  of  Martin  Luther's  books,  entitled  his  lall  divine  difcourfes. 

<  For 


ehap.  5-       AND    Pi^ACTlCE    OF    MUSIC.  8i 

From  the  feveral  palTages   above  colleded,  which   it  feems   were 
taken  from  his  own  mouth  as  uttered  by  him  at  fundry  times,  it  muft 

*  For  after  fuch  time  as  God  ftirred  up  the  fpirit  of  Martin  Luther  to  dete6lthe  corruptions 

*  and  abufes  of  popery,  and  to  preach  Chrift,  and  clearly  to  fct  forth  the  fimplicity  of  the  gof-  ' 

*  pel,  many  kings,  princes,  and  dates,  imperial  cities,  and  Hans-towns  fell  from  the  popilh 

*  "religion  and  became  proteftants,  as  their  poflerities  flill  are,  and  remain  to  this  very  dale. 

'And  for  the  farther  advancement  of  the  great  work  of  reformation  then  begun,  the 

*  forefaid  princes  and  the  reft,  did  then  order  that  the  faid  divine  difcourfes  of  Luther' 
*fliould  forthwith  be  printed,  and  that  everie  pariOi  (hould  have  and  receive  one  of  the 

'  forefaid  printed  books  into  everie  church  throughout  all  their  principalities  and  donii- 
'  'nions,  to  be  chained  up  for  the  common  people  to  read  therein. 

*  Upon  which  divine  work  or  difcourfes  the  reformation  begun  before  in  Germanic  Was 
••'wonderfully  promoted  and  encreafed,  and  fpread  both  here,  in  England,  and  other  coun- 

*  tries  befide. 

*  But  afterwards  it  fo  fell  out,  that  the  pope  then  living,  viz.  Gregory  XIII  underflnntl- 
*'ing  what  great  hurt  and  prejudice  he  and  hispopifti  religion  had  already  received  by  rca-  ■ 

*  fon  of  the  faid  Luther's  divine  difcourfes,  and  alfo  fearing  that  the  fame  might  bring  fur- 
*'ther  contempt  and  mifchief  upon  himfelf  and  upon  the  popifli  church,  he  therefore,  to 

*  prevent  the  fame,  did  fiercely  fllr  up  and  inftigate  the  emperor  then  in  being,  viz.  Ru-  ■ 

*  dolphus  II.  to  make  an  edi£l:  thorow  the  whole  empire  that  all  the  forefaid  printed  books 

*  'fhould  be  burned,  and  alfo  that  it  ihould  be  death  for  any  perfon  to  have  or  keep  a  copi^ 

*  thereof,  but  alfo  to  burn  the  fame,  which  edift  was  fpeedily  put  in  execution  accordingly, 

'  infomuch  that  not'one  of  all  the  faid  printed  books,  nor  fo  much  as  any  one  copie  of'ths  •' 
'  fame  could  be  found  out  nor  heard  of  in  any  place. 

*  Yet  it  pleafed  God  that  anno  1626  a  German  gentleman,  named  Cafparus  Van  Sparr,  • 

*  with  whom  in  the  time  of  my  flaying  in  Germany  about  king  James's  bufincfs  I  became 

*  very  familiarly  known  and  acquainted,  having  occafion  to  build  upon  the  old  foundation 

*  of  an  houfe  wherein  his  grandfather  dwelt  at  that  time  when  the  faid  editl  was  publiHied 

*  in  Germany  for  the  burning  of  the  forefaid  book,  and  digging  deep  into  the  ground 

*  under  the  faid  old  foundation,  one  of  the  faid  original  printed  books  was  there  hLinpily 

*  found  lying  in  a  deep  obfcure  hole,  being  wrapped  in  a  ftrong  linen  cloch,  which  was  • 

*  waxed  all  over  with  bees  wax,  within  and  without,  whereby  the  book  was  pieferved  fair 

*  without  any  blemifhi 

*  Andat  the  fame  time  Ferdinand  IL  being  emperor  in  Germany,  who  was  a  fevere  enc- 
*'my  andperfecutor  of  theproteftant  religion,  the  forefaid  gentleman,  and  grand  childe  to 

*  him  that  had  hidden  the  faid  book  in  that  obfcure  hole,  fearing  that  if  the  fiiiii  emperor 

*  fhould  get  knowledge  that  one  of  the  faid  books  was  yet  forth  comming,  and  in  his  cufto- 

*  My,  whereby  not  only  himfelf  might  be  brought  into  trouble,  but  alfo  the  book  in  danger 

*  to  be  deftroyedas  all  the  refl  were  fo  long  before  :  and  alfo  calling  me  to  minde  and  know- 
*'ing  that  I  had  the  High  Dutch  tongue  very  perfed,  did  fend  the  faid  original  book  over 

*  hither  into  England  unto  me,  and  therewith  did  write  unto-me  a  letter,  wherein  he  re- 

*  lated  thcpafTages  of  the  preferving  and  finding  out  of  the  faid  book. 

*  And  alfo  he  earneflly  moved  me  in  his  letter  that  for  the  advancement  of  Goo's  glcrie 

*  and  of  Chrifl's  church,  1  would  take  the  pains  to  tranflate  the  faid  book,  to  the  end  that  ' 

*  that  mod  excellent  divine  work  of  Luther  might  be  brought  again  to  light. 

*  Whereupon  I  took  the  faid  book  before   me,  and  many  times  began  to  tranflate  the  " 
'"fam.e,  but  alwaics  1  washindred  therein,  beeing  called  upon  about  other  bufinefs,  info- 

*  'much  that   by  no  poffible  means  T  could  remain  by  that  work.     Then  about  fix  weeks  ' 

*  after  I  had  received  the  faid  book,  it  fell  out  that  I  being  in  bed  with  my  wife  one  night 

*  between  twelve  and  one  of  the  clock,  flie  beeing  afleep,  but  myfcll  yet  awake,  there  ap- 

*  pearcd  unto  mee  an  ancient  man  ftanding  at  my  bed  fiile,  arrayed  ali  in  white,  having  a 

*  long  and  broad  white  beard  hanging  down  to  his  girdle-flced,  who  taking  me  by  my  right  ' 
«  ear,  fpake  thefe  woids  following. unto  mee  :  *'  Sirrah,  will  not  youtake-  time  to  tranf- 

YoL.  ilL  M  •  "  bte 


H  HISTORY    OF    THE    SCIENCE       Book  I. 

neceflarily  be  concluded,  not  only  that  Luther  was  a  pafHonate  ad- 
mirer of  mufic,  but  that  he  was  fkilled  in  it,  all  which  confidered, 
there  is  gre  t  reafon  to  believe  that  the  rituil  of  his  church  was 
framed  either  by  himfelf  or  under  his  immediate  diredion. 

It  is  more  than  probable  that  this  inftitution  of  a  new  form  of  cho- 
ral fervice  by  the  Lutherans,  co-operating  with  the  cenfure  of  the 
council  of  Trent  againfl:  fmging,  as  then  pradifed  in  churches,  pro- 
duced that  plain  and  noble  ftyle  of  choral  harmony,  of  which  Paleftrina 
is  generally  fuppofed  to  have  been  the  father.  This  moft  admirable 
inufician,  who  was  Maeflro  di  Capella  of  the  church  of  St  Peter  at 
P^ome,  with  a  degree  of  penetration  and  fagacity  peculiar  to  himfelf, 
in  the  early  part  of  his  life  difcovered  that  the  mufician^his  predecef- 
fors  had  in  a  great  rneafure  corrupted  the  fjience,  he  therefore  rejed- 
ing  thofe  ftrange  proportions  which  few  were  able  to  fing  truly,  and 
which  when  fung  excited  more  of  wonder  than  delight  in  the  hearer, 
feduloufly  applied  himfelf  to  the  ftudy  of  harmony,  and  by  the  ufe  of 
fuch  combinations  as  naturally  fuggeft  themfelves  to  a  nice  and  un- 
prejudiced ear,  formed  a  ftyle  fo  fimple,  {o  pathetic,  and  withal  fo 
truly  fublime,  that  his  compofitions  for  the  church  are  even  at  this 
day  looked  on  as  the  models  of  harmonical  perfection. 

"  late  that  book  which  is  fdnt  you  out  of  Germany  ?  I  will  fhortly  provide  for  you  both 
"  place  and  time  to  do  it."     And  then  he  vaniflied  away  out  of  my  fight. 

*  Whereupon  being  much  thereby  affrighted,  I  fell  into. an  extreme  fweat,  infomuch 

*  that  my  wife  awaking  and  finding  me  all  over  wet,  fhe  afked  me  what  I  ailed,  1  told  her 

*  what  I  had  feen  and  heard,  but  I  never  did  heed  nor  regard  vifions  nor  dreams,  and  fo  the 

*  fame  fell  foon  out  of  my  minde. 

'  Then  about  a  fortnight  after  I  had  feen  that  viuon,  on  a  Sundaie  I  went  to  Whitehall 

*  to  hear  the  fermon,  after  which  ended  1   returned  to  my  lodging,  which  was  then  in 

*  King-flreet  at  Weftminfter,  and  fitting  down  to  dinner  with  my  wife,  two  mefTengers 

*  were  fent  from  the  whole  council  board  with  a  warrant  to  carry  me  to  the  keeper  of  the 
»  Gatehoufe  Weftminfter,  there  to  be  fafely  kept  untiil  further  order  from  the  lords  of  the 

*  council,  which  Avas  done  without  {hewi»g  me  anycaufe  at  all  wherefore  I  was  commit- 

*  ted.     Upon  which  faid  warrant  I  was  kept  there  ten  whole  years  dole  prifoner,  where  I 

*  fpent  five  years  thereof  about  the  tranflating  of  the  faid  book,  infomuch  as  I  found  the 

*  words  very  true  which  the  old  man  in  the  forefaid  vifion  did  fay  unto  me,  "  I  will  fhortly 
*'  provide  for  you  both  place  and  time  to  tranflate  it" 

The  author  then  proceeds  to  relate  that  by  the  intereft  of  archbifhop  Laud  he  was  dif- 
charged  from  his  confinement,  with  aprefent  of  forty  pounds  in  gold. 

By  a  note  in  his  narrative  it  appears  that  the  caufe  of  his  commitment  was  that  he  was  ur- 
gent with  the  lord  treafurer  for  the  payment  of  a  long  arrear  of  debt  due  from  the  govern- 
ment to  him. 

His  tranflation  of  the  Colloquia  Menfalia  was  printed  in  purfuance  of  an  order  of  the 
houfe  of  commons,  made  24  February,  1646. 

CHAP. 


Chap.6.    AND    PRACTICE    OF    MUSIC.  83 


CHAP.  VI. 


THE  foregoing, account  of  the  rife  and  progrefs  of  church- mu{ic> 
or  as  it  is  mofl  ufually  denominated,  antiphonal  finging,  may  in 
a  great  meafure  be  faid  to  include  a  hiftory  of  the  fcience  itfelf  fo  far 
downward  as  to  the  time  of  the  Reformation  ;  to  what  degree,  and 
under  what  reftraints  it  was  admitted  into  the  fervice  of  the  reformed 
churches  will  be  the  fubjedl  of  future  enquiry  ;  in  the  interim,  the 
order  and  courfe  of  this  hiftory  require  that  the  fuccefiion  both  of 
theoretic  and  practical  muficians  be  continued  from  the  period  where 
it  flopped,  and  that  an  account  be  given  of  that  fpecies  of  mufic 
which  had  its  rife  about  the  middle  of  the  fixteenth  century,  namely^ 
the  dramatic  kind,  in  which  the  Opera  and  Oratorio,  as  they  are  im- 
properly called,  are  neceflarily  included. 

Of  the  writers  on  mufic,  the  laft  hereinbefore  mentioned  is  Peter 
Aron,  a  man  more  diftinguidied  by  his  attachment  to  Bartholomew 
Ramis,  the  adverfary  of  Franchinus,  than  by  the  merit  of  his  own 
writings ;  he  lived  about  the  year  1 545.    The  next  writer  of  note  was 

Martinus  Agricola,  Chanter  of  the  church  of  Magdeburg,  who 
flouriQied  about  this  period,  and  was  an  eminent  theoretic  and  pra<5tical 
mufician.  In  the  year  1528  he  publifhed  a  treatife,  which  he  intitled 
Cciltfcl^cSl^Ufit;  and  in  the  year  following  another,  intitled  Mufica  In- 
flrumentalis;  both  thefe  were  written  in  German  verfe,and  were  printed 
for  George  Rhaw  of  Wittenberg,  who  though  a  bookfeller,  was  himfelf 
alfo  a  writer  on  mufic,  and  as  fuch  an  account  has  been  given  of  him  iii- 
the  courfe  of  this  work*.  In  the  latter  of  thefe  works  are  the  reprefen- 
tations  of  moft  of  the  inftruments  in  ufe  in  his  time.  He  was  the  author 
alfo  qf  a  tradt  on  figurate  mufic,  in  twelve  chapters,  and  of  a  little  trea* 
tife  De  Proportionibus  ;  and  of  another  in  Latin,  intitled  Rudimenta 
■Mufices,  for  the  ufeo-f  fchoolsj  but  his  great  work  is  that  intitled  Melo- 
dios  Scholaflicse  fub  Horarum  Intervallis  decantandae,  pubHlhedatMag- 
deburg  in  1612,  and  mentioned  by  Draudius  in  his  Bibliotheca  Claf- 
•fica  Librorum  Germanicorum.     He  was  the  author  alfo  of  a  tradt  in-- 

*  Viz.  vol.  II.  book  iv.  chap.  2^ 

M  z  tided 


§4  HISTORY    OF    THE    SCIENCE       Eook'i. 

titled  *  Scholia  in  Muficam  Planam  Wenceilai  Philomatis  de  Nova 
Domo  exvariis  Muficorum  Scriptis  pro  Magdeburgenfis  ScholcE  Ty- 
bus   colleda,'  in  the   preface  to   which  he  fpeaks  thus  of  himfelf-: 

*  Prsterea,  ledor  optime,  cogitabis,   me  nequaquam  potuifTe  fingula 

*  artificiofiffime  tradere,  quemadmodun-i  alii  excellentes  mufici,  quuni 
*^  ego  nunquam  certo  aliquo  prsceptore  in  hac  arte  ufus  fim,  fed  tan- 

*  quam  muiicus  aJrisjpwj?  occulta  quadam  naturae  vi,  qua'  me  hue  per- 
'  traxit,  turn  arduo  labore  atque  domeftico  fludio,  id  quod  cuilibet 
<  perlto  facile  eft  jcflimare^  Deo  denique  aufpice,  exiguum  illud  quod 
■*  intelligo,  fun  aflecutus,  ut  non  omnino  abfolute,  veruni  tanquam 
«  aliquis  vulgariter  doftus,  tantum  fimpliciffime,  adeoque  rudibus  hu- 

*  ius  artis  pueris  principia  prsfcribere,  atque  utcumque  inculcare 
'  queam,  non  diffimilis  arbori,  cui  fpontanea  contigit  e  terra  pul- 
'«  lulatio,  quae  nunquam   fua    bonitate    refpondet  alteri  arbori,  quae 

*  mum  ab  ipfo  hortulano,  loco  opportune  plantatur  ac  deinceps  etiani 

*  quotidie  fovetur  ac  irrigatur.'  In  the  year  1545  he  republiflied  his 
Mufica  Inftrumentalis,  and  dedicated  it  to  George  Rhaw,  but  fo  much 
was  it  varied  from  the  former  edition,  that  it  can  fcarce  be  called  the 
fame  vi^ork  ;  and  indeed  the  firft  edition -vvas  by  the  author's  own  con- 
fefiion  fo  difficult  to  be  underflood,  that  hw  could  read  it  to  any  ad« 
vantage.  In  this  latter  edition,  befides  explaining  the  fundamentals 
of  mufic,  the  author  enters  very  largely  into  a  defcription  of  the  in- 
ftruments  In  ufe  in  his  time,  as  namely,  the  Flute,  Krumhorn,  Zink, 
Bombardt,  Sackpipe,  SwifTpipe,  and  the  Shalmey,  with  the  ma- 
nagement of  the  tongue  and  the  finger  in  playing  on  them.  He  alfo 
treats  of  the  violin  and  lute,  and  fhows  how  the  gripe,  as  he  calls  it, 
of  each  of  thefe  inftruments  is  to  be  divided  or  meafured  ;  he  fpeaks 
alfo  of  the  divifion  of  the  monochord,  and  of  a  temperature  for  the 
organ  and  harpfichord.  Agricoia  died  on  the  tenth  day  of  June, 
1556,  and  in  1561  the  heirs  of  George  Rhaw  publiihed  a  work  of 
his  intitled  *  Duo  Libri  Mufices  continentes  Compendium  Artis,  & 

*  illuflria  Exampla;   fcripti  a  Martino  Agricoia,  Silefio  foravienfi,  in 

*  gratiam  eorum,  qui  in  Schola  Magdeburgenfi  primaElementa  Artis 

*  difcere  incipiunt.' 

The  works  of  Agricoia  feem  intended  for  the  inflrudtion  of  young 
beginners  in  the  ftudy  of  mufic  ;  and,  though  there  is  fomething 
vvhimfical  in  the  thought  of  a  fcientific  treatife  compofed  in  verfe,  it 
is  probable  that  the  author's  view  in  it  was  the  more  forcibly  to  im- 

prefs 


'Chap.'6.      AND    PRACTICE    OF    M  tf  S I  C.  85 

/prefs  his  inftru6lions  on  the  memory  of  thofe  who  were  to  profit  by 
them.  His  Miifica-Inftrumentalis  feems  to  be  a  proper  fupplement  to 
the  Mufurgia  of  Ottomarus  Lufcinius,  and  is  perhaps  the  firfl:  book 
'"^of  diredions  for  the  performance  on  any  mufical  inflrument,  ever  pub  < 
liflied.  Martinus  Agricola  is  fometimes  confounded  with  another 
Agricola,  whofe  Chriflian-name  was  Rudolphus,  a  divine  by  pro- 
feflion,  but  an  excellent  pradical  mufician,  and  an  admirable  per- 
former on  the  lute  and  on  the  organ.  Such  as  know  how  to  dif- 
tinguiHi  between  thefe  two  perfons,  call  Rudolphus  the  elder  Agri- 
•cola,  and  well  they  may,  for  he  was  born  in  the  year  1442,  at  Caf- 
•flen,  a  village  in  -Friefland,  two  fiiiles  from  Groningen,  and  dying  in 
J 4 85  at  Heidelberg,  was  buried  in  the  Minorite  church  of  that  city, 
where  is  the  following  infcription  to  his  memory  : 

invida  clauferunt  hoc  marmore  fata  Rodulphum 

Agricolam,  Frilii  fpemque  decufque  foli. 
Scilicet  hoc  uno  meruit  Germania,  laudis 

Quicquid  habet  Latium,  Grscia  quicquid  habet. 

Henricus  Faber,  flouriflied  about  the  year  1540.  He  wrote 
•a  Compendium  Muiicse,  which  has  been  printed  many  times,  and 
'Compendiolum  Muficse  pro  Incipientibus,  printed  at  Franckfort 
in  1548,  and  again  at  Norimberg  in  1579.  He  was  recftor  of  thb 
•college  or  public  fchool  of  Quedlinburg  for  many  years,  and  died 
anno  1598:  the  magiftrates  of  that  place  eredled  a  monument  for 
him,  upon  which  is  the  following  infcription  : 

ClarilT.  &  Dodiff.  Viro,  M.  Heinr.  Fabro,  optlme  de  hac  Schola 
^merito  monumentum  hoc  pofuit  Reipu.  hujus Quedlinburg.  Senatus. 

Henrici  ecce  Fabri  ora,  Ledor,  omnis 
Qui  dodtus  bene  liberalis  artis, 
Linguarumque  trium  probe  peritus 
Hanc  rexit  patriam  Scholam  tot  annos> 
Quot  menfis  numerat  dies  fecundus> 
Fide,  dexteritate,  laude  tanta> 
Quantam  &  poflera  praedicabit  aBtas> 
Nunc  peftis  violentia  folutus 
Ifto,  quod  pedibus  teris,  fepulcro 
In  Chrifto  placidam  capit  quietem» 
Vitam  pollicito  fereniorem. 

27.  Aug.  obiit  An.  1598.  cum  vixilTet  annos  LV« 


86 


HISTORY    OF    THE    SCIENCE      Book!. 


CRISTOFORO     MORALES 
SPAGNLTOLO, 

ca:n^tore    della.   cappella   poi^TmciA, 


Christopher  Morales,  a  native  of  SevII,  was  a  finger  in  the 
isontifical  chapel  under  Paul  III.  in  or  about  the  year  1544,  and  an 
excellent  compofer.  He  was  the  author  of  two  colledions  of  mafles^ 
the  one  for  live  voices,  publiQied  at  Lyons  in  1545?  the  other  for 
four  voices,  publilhed  at  Venice  in  1563,  and  of  a  famous  Magnificat 
on  the  eight  tones,  printed  at  Venice  in  1562.  Mention  is  alfo  made 
of  a  motet  of  his  *  Lamentabatur  Jacob,'  ufually  fung  in  the  pope's 
chapel  on  the  fourth  Sunday  in  Lent,  which  a  very  good  judge  *  ft  vies 

*  Andrea  Adami  da  Bolfena,  nelfe  fue  Oflervazicni  per  ben  regolare  il  Coro  de  i  Cantori 
^dh  Cappella  Pontificia.     Rom.  1711. 


■v 


Chap.  6.      AND    PRACTICE    OF    M  U  S  I  C.  S; 

«  una  maraviglia  dell'  arte  *.     He  compofed  alfo  the  Lamentations  of 
Jeremiah  for  four,  five,  and  fix  voices,   printed  at  V'enice  in   1564. 

*  Chriftopher  Morales  is  the  firfl  of  eminence  that  occurs  in  the  fcanty  lid  of  Spanitli 
muficians  The  flow  progrefs  of  mufic  in  Spain  may  in  fome  degree  be  accounted  for  by 
the  prevalence  of  Moorifh  manners  and  cuftoms  for  many  centuries  in  that  country.  The 
Spanilh  guitar  is  no  other  than  the  Arabian  Pandura  a  little  improved  ;  and  it  is  notorious 
that  mofl:  of  the  SpaniOi  dances  are  of  Moorifh  or  Arabian  original.  With  refpcd  to  tlie 
theory  of  mufic,  it  does  not  appear  to  have  been  at  all  cultivated  in  Spain  before  the  time 
of  Salinas,  who  was  born  in  the  year  1 5 1  3,  and  it  is  poflible  that  in  this  fcience,  as  well  as 
m  thofe  of  geometry  and  aftronomy,  in  phyfics,  and  other  branches  of  learning,  the  Ara- 
bians, and  thofe  defcended  from  them  might  be  the  teachers  of  the  Spaniards.  There  is 
row  in  the  library  of  the  Efcurial  an  Arabic  manufcript  with  this  title,  *  Abi  Nafler  Mo- 
'  hammed  Ben  Mohammed  Alpharabi  Aluficcs  Elementa,  adjedis  NotisMuficis  et  Inltru- 

*  mentorum  Figuris  plus  triginta.    CMVI.' 

As  the  date  of  this  iMS.  and  the  age  when  theautlior  lived  are  prior  to  the  timeof  Guido 
Aretinus,  we  are  very  much  at  a  lofs  to  form  a  judgment  of  any  fyflem  which  could  then 
prevail  other  than  that  of  the  ancients,  much  lefs  can  we  conceive  of  the  forms  of  fo  great 
a  variety  of  inflruments  as  are  faid  to  be  contained  in  it. 

The  author  of  this  book  is  however  fufhciently  known.  In  theNouveau  Didionnaife 
Hiflorique  Portatif  is  the  following  article  concerning  him. 

*  Alfarabius  lived  in  the  tenth  century.  He  did  not,  like  m.of^  learned  men  of  his 
'  country,  employ  himfelf  in  the  interpretation  of  the  dreams  of  the  Koran,  but  penetrate  J 
'  the  deepefl:  recefies  of  abftrufe  and  ufeful  fcience,  and  acquired  the  charader  of  the  great- 

*  eft  philofopher  among  the  Mufl^jlmans.    Nor  was  he  more  dillinguiOied  for  his  excellence 

*  in  moft  branches  of  learning,  than  for  his  great  fkill  in  mufic,  and  his  proficiency  on  va* 

*  rious  inftruments.     Some  idea  of  the  greatnefs  of  his  talents  may  be  formed  from  'the  fol- 

*  lowing  relation.     Having  made  a  pilgrimage  to  Mecca,  and  returning  through  Syria,  he 

*  vifited  the  court  of  the  fultan  Seifeddoulet.  At  his  arrival  he  found  the  fultan  fur- 
«  rounded  by  a  great  number  of  learned  men,  who  were  met  to  confer  on  fcientific  fubjeas, 

*  and  joining  in  the  converfation,  argued  with  fuch  depth  of  judgment  and  fo'ce  of  reafon- 
«  ing,  as  convinced  all  that  heard  him.   As  foon  as  the  converfation  was  at  an  end,  the  fultan 

*  ordered  in  his  muficians,  and  Alfarabius  taking  an  inftrument,  joined  in  the  performance. 

*  Waiting  for  a  feafonable  opportunity,  he  took  an  inftrument  in  his  hand  of  the  lute  or 

*  pandura  kind,  and  touched  it  fo  delicately,  that  he  drew  the  eyes  and  attention  of  all  thnt 
«  were  prefent.  Being  requefted  to  vary  his  ftyle,  he  drew  out  of  his  pocket  a  fong,  which 
<  he  fung  and  accompanied  with  fuch  fpirit  and  vivacity,  as  provoked  the  whole  company  to 

*  laughter,  with  another  he  drew  from  them  a  flood  of  tears,  and  with  a  third  laid  them  all 

*  afleep.     After  thefe  proofs  of  his  extraordinary  talents,  tbe  fultan  of  Syria  requeRcd  of 

*  Alfarabius  to  take  up  his  refidence  in  his  court,  but  he  excufed  himfelr,  and  departin'-r 

*  homeward,  was  flain  by  robbers  in  a  forcft  of  Syria,  in  the  year  954.    Many  of  his  work's 

*  in  MS.  are  yet  in  the  public  library  at  Leydcn.'* 

It  muft  be  conferred  that  the  foregoing  account  carries  with  it  much  of  the  appearance  of 
fable:  the  following,  contained  in  Mr.  Ockley's  tranflaiion  of  Abu  Jaafar  Ebn  Tophails 
Life  of  Hai  Ebn  Yokdhan,  is  of  the  two  peihaps  the  neareft  the  truth. 

*  Alpharabius,  without  exception  the  greatcft  of  all  the  Mahometan  philofophers, 

*  reckoned  by  fome  very  near  equal  to  Ariftotle  himfelf.  Maimonides  in  his  cpiftle  to 
*.  Rabbi  Samuel  Aben  Tybbon,  commends  him  highly  ;  and  though  he  allows  Aviccnna 

*  a  great  fhare  of  learning   and  acumen,  yet  he  prefers  Alpharabius  before  him.     Nav, 

*  Avicenna  himfelf  con fefles  that  when  he  had  read  over  Ariftotle's  Metaphyfics  forty  limc't^, 
«  and  gotten  them  by  heart,  that  he  never  under ftood  them  till  he  happened  upon  Al[ha- 

*  rabius's 


88  HI:STORY    OF    THE    SCIENCE       Book!.. 

A  Gloria  Patii  of  his  is  preferved  in  ths  Mufurgia  of  KIrcher,  lib.  VII»- 
cap.  vii.   fe(fl.  ii. 

Gregorius  Faber,  profefTor  of  mufic  in  the  univerfity  of  Tu- 
bingen in  the  duchy  of  Wirtemberg,  publilhed  at   Bafil,   in    1553,. 
Mufices  Pradicce  Erotematam,  libri  II.  a  book  of  merit  in  its  way. 
In  It  are  contained  many  compofitlons  of  Jufquin  de  Pres,-  Anthony 
Brumel,  Okeghem,  and  other  muBcians  of  that  time. 

Adrian  Petit  CoclicuSj  who  llyles  himfelf  a  difciple  of  Jufquin  ^ 
de  Pres,  was  the  author  of  a  trad:  intitled  Compendium  Mufices,  print- 
ed at  Norimberg  in  1552,  in  which  the  muficians  mentioned  by  Gla* 
reanus,  with  many  others  of  that  time,  are  celebrated.     Thefubjedls- 
principally  treated  of  by  him  are  thus  enumerated  in  the  title-pagej, 
De  Mode  ornato  canendi — De  Regula  Contrapundi — De  Compofi- 
tione.     To  oblige  his  readers,  this  author   at  the  beginning  of  his 
book  has  exhibited  his  own  portrait  at  full  length,   his  age  fifty-two. 
It  would  be  very  difficult  to  defcribe  in  words  the  horrible  idea  which 
this  reprefentation  gives  of  him.     With  a  head  of  an  enormous  big=- 
nefs,  features  the  coarfefl:  that  can  be  imagined,  a  beard  reaching  to 
his  knees,  and  cloathed  in  a  leather  jerkin,  he  refembles  a  Samoed,  , 
or  other  human  favage-  more  than  a  profelTor  of  the  liberal  fciences.  - 
But  notwithftanding  thefe  lingularities  in  the  appearance  of  the   au^ 
thor,  his  book  has  great  merit. 

LuiGi  Dentice,  a  gentleman  of  Naples,  was  the  author  of  Due.: 
Dialoghi  della  Mufica,  publiQied  in  1552  ;  the  fubjeds  whereof  arc 
chiefly  the  proportions  and  the  modes  of  the  ancients  ;  in  difcourfingr 
on  thefe  the  author  feems  to  have  implicitely  followed  Boetius  :  there  : 
were  two  others  of  his  name,  muficians,  who  were  alfo  of  Naples  :  - 
the  one  named  Fabricius  is  celebrated  by  Galilei  in  his  Dialogue  on 
ancient  and  modern  Mufic,  as  a  moft  exquifite  performer  on  the  lute.  . 
The  other  named  Scipio  is  taken  notice  of  in  the  Mufical  Lexicon  of - 
Walther.    Adrian  LeRoy,  a  bookfeller  of  Paris,  who  in  1578  publifib-  • 

*  rablus's  expofitlon  of  tliern.     He  wrote  bcoks  of  rhetoric,  mufic,  logic,  and  all  parts 
'♦  of  philofopiiy  ;  and  his  wiicings  have  been  much  efteemed  not  only  by  Mahometans,  butr 

*  Jews  and  Chrlftians  too.     He  was  a  perfon  of  fingular  abflinence  and  continence,  and 

*  a  defpifer  of  the  things  of  this  world.  He  is  called  Alpharabius  frorn  Farab,  the  place  of 
«  his  birth,  which,  according  to  Abulpheda,  (who  reckons  his  longitude,  not  from  the 
•'  Tortunate  Iflands,  but  from  the  extremity  of  the  weflern  continent  of  Africa)  has  88  deg. 
'  30  min.  of  longitude,  and  44  deg.  of  northern  latitude.     He  died  at  Dam>afcus  in  the 

*  year  of  the  Hegira  339,  that  is  about  the  year  of  Chiift  950,  when,  he  was  about  four- 

*  ftore  years  old/ 

cd, 


Chap.  6.      AND    PRACTICE    OF    MUSIC.  89 

ed  Briefve  et  facile  Inftrudion  pour  aprendre  la  Tablature  a  blen  ac' 
corder,  conduire,  &  difpofer  la  Main  fur  la  Guiterne,  fpeaks  in  that 
book  of  a  certain  tuning  of  the  lute,  which  was  pradtifed  by  Fabrice 
Dentice  the  Italian,  and  others  his  followers,  from  whence  it  is  to 
be  inferred  that  he  was  a  celebrated  performer  on  that  inftrument. 

But  of  the  many  writers  of  this  time,  no  one  feems  to  have  a  bet- 
ter claim  to  the  attention  of  a  curious  enquirer  than 

Don  Nicola  Vicentino,  a  writer  whom   it  has   already   been 

found  neceflary  frequently  to  take  notice  of  in  the  preceding  pages  of 

"this  work,  inafmuch   as   there   are  few  modern  books  on  mufic  in 

which  he  is  not  for  fome  purpofe  or  other  mentioned.     He,  in  the 

year  J  555,  publifhed  at  Rome  a  book  intitled  *  L'Antica  Mufica  ri- 

*  dotta  alia  moderna  prattica,  con  la  dichiaratione  et  con  gli  effempi  de 

*  i  tre  generi,   con  le  loro  fpetie.     Et  con  I'inventione  di  uno  nuovo 

*  ilromcnto,   nel  quale  fi  contiene  tutta  la  pcrfetta  mufica,  con  molti 

*  fegreti  muficali.* 

In  this  work  of  Vicentino  is  a  very  circumftantial  account  of 
Guido  ;  and,  if  we  except  that  contained  in  the  MS.  of  Waltham 
Holy  Crofs,  and  a  (hort  memoir  in  the  Annales  Ecclefiaftici  of  Baro- 
nius,  it  is  perhaps  the  moft  ancient  hiftory  of  his  improvements  any 
where  to  be  found  ;  it  is  not  however  totally  free  from  errors;  for  he 
attributes  the  contrivance  of  the  hand  to  Guido,  the  very  mention 
whereof  does  not  once  occur  either  in  the  Micrologus,  the  Epiftle  to 
his  friend  Michael,  or  in  any  other  of  his  writings. 

In  the  account  he  gives  of  the  cliffs  or  keys  he  afferts  that  the  cha- 

raders  now  ufed  to  denote   them   (£;     |Y    H    (K    are  but  fo  many 

corruptions  of  the  letters  F,  C,  G*,  though  he  allows  that  the  latter 
of  the  three  continued  in  ufe  long  after  the  two  former,  of  which 

there  can  be  no  doubt,  fincc  we  find  the  letter  (9  ufed  not  only  to 
denote  the  feries  of  fuperacutes,  but  in  Fantafies  and  other  inllrumen- 
tal  compofitions  it  was  conftantly  the  fignature  of  the  treble  or  upper 
part,  down  to  the  end  of  the  fixteenth  century  j  the  charader  now  ufed 

for  that  purpofe  X^  is   manifeflly   derived  from  this    Aa  which  ^ig' 

*  Kepler  Is  of  the  fame  opinion,  and  has  given  an  entertaining  and  probable  relation  of 
the  gradual  corruption  of  the  cliffs  in  his  Harmonices  Mundi,  the  fubftance  whereof  is  in- 
ferted  in  the  account  herein  after  given  of  him  and  his  writings. 

Vol.  III.  N  nifies 


90  HISTORY    OF    THE    SCIENCE       Book  E 

nifies  gs,  and  was  intended  to  fignify  the  place  of  G  sol  re  ut.     Ht 
farther  conjedures,  that   in  order  to  diftinguifh  the  Hexachords,  or,, 
as  others  call  them,  the  properties  in  finging,  namely,  in  what  cafes 
b  was  to  be  fung  by  fa,  and  in  what  by  mi,  it  was  ufual  to  affix  twa- 
letters  at  the  head  of  the  ftave,  in   the  firft  cafe  G  and  F,  and  in 
the  laft  C  and  G. 

The  fourth  chapter  of  the  firft  book  contains  an  account  of  John 
De  Muris's  invention  of  the  eight  notes,  by  which  we  are  to  under- 
ftand  thofe  charaders  faid  to  have  been  contrived  by  him  to  denote 
the  time  or  duration  of  founds,  and  of  the  fubfcquent  improvements 
thereof  J  the  whole  is  curious,  but  it  is  egregioufly  erroneous,  as 
has  been  demonflrated. 

He  then  proceeds  to  declare  the  nature  of  the  confonances,  and,  with 
a  confidence  not  unufual  with  the  writers  of  that  age,  to  attempt  an 
explanation  of  that  dodtrine  which  had  puzzled  Boetius,  and  does  not : 
appear  to  have  been  clearly  underflood  even  by  Ptolemy  himfelf. 

That  Vicentino  had  ftudied  mufic  with  great  afliduity  is  not  to  be 
doubted,  but  it  does  not  appear  by  his  work  that  he  had  any  know- 
ledge of  the  ancients  other  than  what  he  derived  from  Boetius,  and 
thofe  few  of  his  own  countrymen  who  had  written  on  the  fubjeft,. 
It  was  perhaps  his  ignorance  of  the  ancients  that  led  him  into  thofe. 
abfurdities  with  which  he  is  charged  by  Doni  and  other  writers 
in  his  attempts  to  render  that  part  of  the  fcience  familiar  which 
mufl:  ever  be  confidered  as  infcrutable  3  and  as  if  the  difficulty- 
attending  the  dodrine  of  the  genera  were  not  enough,  he  has 
not  only  had  the  temerity  to  exhibit  compofitions  of  his  own  in 
each  of  the  three  feverally,  but  has  conjoined  them  in  the  fame 
compofition  -,  for  firft,  in  the  forty-eighth  chapter  of  the  third 
book  is  an  example  of  the  chromatic  for  four  voices  ^  in  the  fifty-firft 
chapter  of  the  fame  book  is  an  example  of  the  enarmonic  for  the  fame 
number ;  and  in  the  fifty-fourth  chapter  is  a  compofition  alfo  for  four 
voices,  in  which  the  diatonic,  the  chromatic,  and  the  enarmonic  are 
all  combined.  Thefe  examples  have  a  place  in  the  firft  volume  of 
tbis  work,  and  are  there  inferted  to  fliew  the  infinite  confufion  arifing 
from  a  commixture  of  the  genera. 

In  the  year  1551    Vicentino  became  engaged  in  a  mufical  contro-. 

Verfy,  which  terminated  rather  to  his  difadvant.a^e  ;  the  occafion  of  it 

6  yiU 


Chap.  6.       AND    PRACTICE    OF    MUSIC.  gi 

was  accidental,  but  both  the  fubjedl  and  the  condud  of  the  difpute 
were  curious,  as  will  appear  by  the  following  narrative  tranflated  from 
the  forty-third  chapter  of  the  fourth  book  of  the  work  above-cited. 

*  I  Don  Nicola,  being  at  Rome  in  the  year  of  our  Lord  1551,  and 
'  being  at  a  private  academy  where  was  finging,  in  our  difcourle  on 

*  the  fubjed:  of  muCic,  a  difpute  arofe  between  the  reverend  Don  Vin^ 

*  cenzio  Lufitanio  and  myfelf,  chiefly  to  this  efFecl.     Don  Vincenzlo 

*  aflerted  that  the  mufic  now  in  ufe  was  of  the  diatonic  genus,  and 

*  I  on  the  contrary  maintained  that  what  we  now  pracftife  is  a  com- 

*  mixture  of  all  the  three  genera,  namely,  the  chromatic,  the  enarmo* 

*  nic,  and  the  diatonic.     I  fliall  not  mention  the  words   that  paffed 

*  between  us  in  the  courfe  of  this  difpute,  but  for  brevity's  fake  pro- 

*  ceed  to  tell  that  we  laid  a  wager  of  two  golden  crowns,  and  chofe 

*  two  judges  to  determine  the  queftion,  from  whofe  ientence  it  was 

*  agreed  between  us  there  fhould  be  no  appeal. 

*  Of  thefe  our  judges  the  one  was  the  reverend  MefTer  Bartholo- 

*  meo   Efcobedo,  prieft   of  the   diocefe  of  Segovia,  the  other   was 

*  MefTer  Ghiiilino  Dancherts,  a  clerk  of  the  diocefe  of  Liege,  both 

*  fingers  in  the  chapel  of  his  holinefs  *  j  and  in  the  prefence  of  the 

*  moil  illuftrious  and  moft  reverend  lord  Hyppolitoda  Efte,  Cardinal 

*  ofFerrara,  my  lord  and  mafler,  and  of  many  learned  perfons,  and 

*  in  the  hearing  of  all  the  fingers,  this  queftion  was  agitated  in  the 

*  chapel  of  his  holinefs,  each  of  us,  the  parties,  offering  reafons  and  ar- 

*  guments  in  fupport  of  his  opinion. 

*  It  fortuned  that  at  one  fitting,  for  there  were  many,  when  the 

*  Cardinal  of  Ferrara  was  prefent,  one  of  our  judges,  namely,  Ghifilino, 

*  being  prevented  by  bufmefs  of  his  own,  could  not  attend.     I  there- 

*  fore  on  the  fame  day  fent  him  a  letter,  intimating  that  in  the  pre- 

*  fence  of  the  Cardinal  I  had  proved  to  Don  Vincenzio  that  the  mufic 
'*  now  in  ufe  was  not  fimply  the  diatonic  as  he  had  afferted,  but  that 
'*  the  fame  was  a  mixture  of  the  chromatic  and  enarmonic  with  the 

*  Efcobedo  is  celebrated  by  Salinas  in  thefe  words  ;  *  Cum  Bartholomaeo  Efcobedo  viro 

*  in  utraque  mufices  parte  exercitatiflimo.'  De  Mufica,  lib.  IV.  cap.  xxxii.  pag  228. 
And  Ghifilino  Dancherts  is  often  mentioned  in  the  preface  to  Andrea  Adami's  OiTerva- 
zioni  per  ben  regolare  il  Coro  de  i  Cantori  della  Cappella  Pontificia,  by  the  name  of  Ghi- 
filino d'  Ankerts  Puntatore,  i.  e.  precentor,  of  the  college  of  fingers  of  the  pontifical  cha- 
pel.    The  fame  author,  in  his  Oifervazioni  above-mentioned,  pag.  163,  flyles  d' Ankerts 

*  ottimo  contrapuntifla  di  madrigali.' 

N  2  *  dia- 


92  HISTORY    OF   THE    SCIENCE       BookL 

*  diatonic.     Whether  Don  Vincenzio  had  any  information  that  I  had 

*  wrote  thus  to  Ghifilino  I  know  not,  but  he  alfo  wrote  to  him,  and 

*  after   a  few  days  both  the  judges  were  unanimous,  and  gave  fen- 

*  tence  againfl  me,  as  every  one  may  fee. 

*  This  fentencc  in  writing,  figned   by   the  above-named  judges, 

*  they  fent  to  the  Cardinal  of  Ferrara,  and  the  fame  was  delivered  to 

*  him  in  my  prefence  by  the  hand  of  my  adverfary  Don  Vincenzio. 

*  My  lord  having  red  the  fentencc,  told  me  I  was  condemned,  and 

*  immediately  I  paid  the  two  golden  crowns.     I  will  not  rehearfe  the 

*  complaints   of  the  Cardinal  to  Don  Vincenzio  of  the  wrong  the 

*  judges  had  done  me,  becaufe  I  would  rather  have  loft  loo  crowns  than 

*  that  occafion  (hould  have  been  given  to  fuch  a  prince  to  utter  fuch 

*  words  concerning  me  as  he  was  neceffitated  to  ufe  in  the  hearing  of 

*  fuch  and  fo  many  witnefles  as  were  then  prefent.     I  will  not  enu- 

*  merate  the  many  requefts  that  my  adverfary  made  to  the  Cardinal  tO: 

*  deliver  back  the  fentence  of  my  unrighteous  judges;  I  however  ob- 

*  tained  his  permiffion  to  print  it  and  publish  it  to  the  world,  upoa 

*  which  Don  Vincenzio  redoubled  his  efforts  to  get  it  out  of  his  hands^ 

*  and  for  that  purpofe  applied  for  many  days  to  Monfignor  Prepofto  de. 

*  Troti,  to  whom  the  Cardinal  had  committed  the  care  of  the  fame. 

*  A  few  days  after  my  lord   and  mafter  returned  to  Ferrara,  and 

*  after  dwelling  there  for  fometime,  was  neceffitated  to  go  to  Sienna, 

*  in  which  country  at  that  time  was  a  war;  thither  I  alfo  went,  and 

*  dwelled  along  time  with  much  inquietude.     After  fome  ftay  there 
"  I  returned  to  Ferrara,  from  whence  I  went  with  my  lord  and  mafter 

*  to  Rome,  in  which  city  by  God's  favour  we  now  remain. 

*  I  have  faid  thus  much,  to  the  end  that  Don  Vincenzio  Lufitanio; 

*  may  not  reprehend  me  if  I  have  been  flow  in  publiftiing  the  above 
'  fentence,  which  fome  time  paft  I  promifed  to  do.  The  reafons  why  I 

*  have  delayed  it  for  four  years  are  above  related  -,  I  publifh  it  now  that 

*  everyone  may  determine  whether  our  differences  were  fufficiently 

*  underftood  by  our  judges,  and  whether  their  fentence  was  juft  or 

*  not.     I  publifti  alfo  the  reafons  fent  by  me,  and  alfo  thofe  of  Don. 

*  Vincenzio,   without  any  fraud,  or  the  lea-ft  augmentation  or  dimi-. 

*  nution,  that  all  may  read  them.' 

The  following  is  a  tranflation  of  a  paper  containing  the  fubftance 
of  Vicentino's  argument,  intitled  *  II  Tenore  dell'  Informatione 
wanda  Don  Nicola  a  M,  Ghifilino  per  fua  prova.' 


Chap.6.       AND    PRACTICE    OF    MUSIC.  93 

*  I  have  proved   to  M.  Lufitanio,  that  the  mufic  which  we  now 

*  pradtlfe  is  not  (imply  diatonic,  as  he  fays.     I  have  declared  to  him 

*  the  rules  of  the  three  genera,  and  (hewn  that  the  diatonic  fings  by 

*  the  degrees  of  a  tone,  tone  and  femitone,  which  indeed  he  hascon- 

*  fefled.     Now  every  one  knows  that  our  prefent  mufic  proceeds  by 

*  the  incompofite  ditone,  as  from  ut  to  mi,  and  by  the  triheinitone 

*  UT  FA,  without  any  intermediate  note,  which  method  of  leaping 

*  is  I  fay  according  to  the  chromatic  genus ;  and  I  farther  fay  that 

*  the  interval  fa  la  is  of  the  enarmonic  kind  ;  and  I  fay  farther  that 

*  the  many  intervals  fignified  by  thefe  characters  >^  and  b,  which  oc- 

*  cur  in  our  prefent  mufic,  (l»ew  it  to  partake  of  all  the  three  genera,. 
«  and  not  to  be  fimply  diatonic  as  M.  Lufitanio  aiTerts.' 

The  arguments  on  the  other  fide  of  the  queftion  are  contained  in  a 
paper  intitled  *  II  tenore  dell'  Informatione  mando  Don  Vincentio 
Lufitanio  ^  M.  Ghifilino  per  fua  prova,'  and  tranflated  is  as  follows  : 

*  Signer  Ghifilino,  I  believe  I  have  fufficiently  proved  before  the 

*  Cardinal  of  Ferrara,  and  given  him  to  underftand  what  kind  of  mu- 

*  fie  it  is  that  is  compofed  at  this  day  by  three  chapters  of  Boetius, 

*  that  is  to  fay,  the  eleventh  and  the  twcnty-firft  of  the  firfl:  book  *, 

*  in  which  are  thefe  words  :  **  In  his  omnibus  fecundum  diatonum 
**  cantilene  procedit  vox  per  femitonium,  tonum,  ac  tonum  in  uno 
«*  tetrachordo.  Rurfus  in  alio  tetrachordo,  per  femitonium,  tonumj^ 
**  et  tonum,  ac  deinceps.  Ideoque  vocatur  diatonicum  quafi  quod 
*«  per  tonum  ac  per  tonum  progrediatur.  Chroma  autem  quod  di- 
**  citur  color,  quafi  iam  ab  huiusmodi  intentioni  prima  mutatio  can- 
**  tatur  per  femitonium  et  femitonium  et  tria  femitonia.  Toto  cnim 
<*  diatefleron  confonantia  eft  duorum  tonorum  ac  femitonii,  fed  non 
«'  pleni.  Tradum  eft  autem  hoc  voeabulum  ut  diceretur  chroma,  a 
**  fuperficiebus,  qua^  cum  permutantur  in  alium  tranfeunt  colorem. 
«*  Enarmonium  vero  quod  eft  maius  coaptatum,  eft  quod  cantatur  in 
«'  omnibus  tetracordis  per  diefin  et  diefin,  et  ditonum,  &c." 

*  Being  willing  to  prove  by  the  above  words  the  nature  of  the  mu- 
<  fie  in  ufe  at  this  day,  it  is  to  me  very  clear  that  it  is  of  the  diatonic 

*  kind,  in  that  it  proceeds  through  many  tetrachords  by  femitone,. 

*  This  is  a  twofold  miftake  of  Lufitanio:  he  has  cited  but  two  chapters  of  Boetiu?, 
a.ud,  tl\e  eleventh  of  the  firfl  book  contains  nothing  to  his  purpofe. 

*  tone- 


94  HISTORY    OF    THE    SCIENCE       Book  L 

tone  and  tone,  whereas  In  the  other  genera,  that  is  to  fay,  the  chro- 
-matic  and  enarmonic,  no  examples  can  be  adduced  from  the  mo- 
dern practice  of  an  intire  progreffion  by  thofe  intervals  which  fe- 
veraily  conftitute  the  chromatic  and  enarmonic  j  and  I  have  (hewn 
the  nature  of  the  diatonic  from  the  fifth  chapter  of  the  fourth  book 
of  Boetius,  beginning  **  Nuncigitur  diatonic!  generis  defcriptio  fad:a 

*  eft  in  CO,  fcilicet,  modo  qui  eil  iimplicior  ac  princeps  quern  Lidium, 
'  nuncupamus." 

*  To  this  Don  Nicola  has  obje(fied  that  the  melody  above  defcribed 
is  not  the  charadleriftic  of  the  pure  diatonic  genus,  becaufe  it  ad- 
mits of  the  femiditone  and  ditone,  which  are  both  chromaiic  and 
enarmonic  intervals  ;  to  which  1  anfwered,  that  both  thefe  never 
arcfe  in  one  and  the  fame  tetrachord,  which  is  an  obfervation  rhat 
Boetius  himfelf  has  made  ;  and  I  faid  that  Don  Nicola  was  deficient 
in  the  knowledge  of  the  true  chromatic,  which  confifts  in  a  pro- 
greflion  by  femitone  and  femitone,  as  alfo  of  the  enarmonic,  proceed- 
ing by  diefis  and  diefis.  As  to  the  ditone  and  femiditone,  they  are  com- 
mon to  all  the  genera,  and  are  taken  into  the  diatonic,  as  agreeing  with 
the  order  of  natural  progreffion  :  and  though  Don  Nicola  would  in- 
finuate  that  the  ditone  and  femiditone  are  not  proper  to  the  diato- 
nic, he  does  not  fcruple  neverthelefs  to  call  the  genus  fo  charader- 
ized  the  diatonic  genus,  which  I  affirm  it  is.  I  defire  you  will  com- 
municate to  your  companion  thefe  reafons  of  mine,  and,  as  you 
promifed  the  Cardinal  of  Ferrara,  pronounce  fentence  on  Sunday 
next.     Vincentius  Lufitan.' 

Vicentino  obferves  upon  this  paper,  that  the  two  firfl  chapters 
quoted  by  his  adverfary  from  Boetius  make  againft  him,  and  prove 
that  opinion  to  be  true  which  he,  Vicentino,  is  contending  for;  and,  in 
fhort,  that  both  the  chromatic  and  enarmonic  intervals,  as  defined 
by  Boetius,  were  ufed  in  the  mulk:  in  queftion,  which  confequently 
could  not  with  propriety  be  deemed  the  pure  and  fim pie  diatonic  ;  he 
adds,  that  he  will  not  arraign  the  fentence  of  his  judges,  nor  fay  that 
they  underfiood  not  the  meaning  of  Boetius  in  the  feveral  chapters 
above-cited  from  him, , but  proceeds  to  relate  an  inflance  of  his  ad- 
verfary's  generofity,  which  after  all  that  had  paiTed  mufl  feem  very 
extraordinary,  his  words  are  thefe  : 

*  The  courtefy  of  Don  Vincentio  has  been  fuch,  that  having  gain- 

*  ed  my  two  golden  crowns  and  a  fentence  in  his  favour,  and  there- 

*  by  overcome  me,  he  has  a  fecond  time  overcome  me  by  fpeaking 

*  againft 


ehap.6.      AND    PRACTICE    OF   MUSIC.  95 

*  againft  the  fentence  of  my  condemnation,  and  againft  the  judges 
'  who  have  done  him  this  favour  ;  and  in  fo  doing  he  has'  truly  over- 

*  come  and  perpetually  obliged  me   to  him  :  and  moreover  he   has 

*  publifhed  to  the  world,  and  proved  in  one  chapter  of  his  own,  that 

*  the  fentence  againft  me  was  unjuftj  nay,  he  has  printed  and  pub- 

*  liftied  the  reafons  contained  in  the  paper  written  by  me,  and  fent  to 

*  MefTer  Ghifilino  our  judge  ;  and  this  he  has  done  as  he  fays  to  dif- 

*  charge  his  confcience,  and  becaufe  it  feemed  to  him  that  he  had 

*  ftolen  the  two  golden  Scudi  *. — God  forgive  all,  and  I  forgive  him, 
•^becaufe  he  has  behaved  like  a  good  Chriftian  j  and  to  the  end  that 

*  every  one  may  be  convinced  of  the  truth  of  what  I  now  aiTert,  I  re- 

*  fer  to  a  work  of  his  intitled  *'  Introdudtione  faciliffima  et  noviffima 
**  di  canto  fermo  et  figurato  contrapunto  femplice,  See.  Stampata  in 
"  Roma  in  campo  di  Fiore  per  Antonio  Blado,  Impreflbre  Apofto. 
"  L'anno  del  Signore  M  D.LI II.  a  li  xxv  di  Settembre."    At  the  end 

*  of  this  work  he  treats  of  the  three  genera  of  mufic  in  thefe  words  : 
**  The  genera  or  modes  of  mufical  progreffion  are  three,  viz.   the 

"  Diatonic,  which  proceeds  by  four  founds  con  ftituting  the  intervals  of 
**^  tone,  tone,  and  femitone  minor,  the  Chromatic,  which  proceeds  by 
**  femitone,  femitone  major,  and  three  femitones,  making  in  all  five 
"  -femitones,  according  to  the  definition  of  Boetius  in  his  twenty-firft 
"  chapter,  and  according  to  his  twenty-third  chapter,  by  femitone 
**  minor,  femitone  major,  and  the  interval  of  a  minor  third,  re  fa, 
•*  not  RE  MI  FA,  becaufe  re  fa  is  an  incompofite,  and  re  mi  fa  is  a 
"  compofite  interval.  The  Enarmonic  proceeds  by  a  diefis,  diefis  and 
«*  third  major  in  one  interval,  as  ut  mi,  not  ut  re  mi  j  the  mark 
"  for  the  femitone  minor  is  this  ^,  and  that  for  the  diefis  is 
"  this  X." 

Vicentino  remarks  upon  this  chapter,  that  his  adverfary  has  admit- 
ted in  it  that  the  leap  of  the  femiditone  or  minor  third,  re  fa  or  mi  . 

*  In  this  controverfy  two  things  occur  that  muft  ftrike  an  intelligent  reader  with  fur- 
pfize  :  the  one  is  that  the  two  judges  (hould  concur  in  an  opinion  To  manifcflly  erroneous 
3s  that  the  fyftem  in  queftion,  which  wns  in  truth  no  other  than  that  now  in  ufe,  was  of 
the  diatonic  genus  ;  the  other  is  the  conceffion  of  Lufitanio  that  it  partook,  of  all  the  three 
genera.  The  reader  will  recoiled  the  fentiment  of  our  countryman  Morley  on  this  head 
who,  after  diligently  enquiring  inta  the  matter,  pronounces  of  the  mufic  of  the  moderns 
that  it  is  not  fully,  and  in  every  refped,  the  ancient  diatonicum  nor  right  ch»omaticum,but 
an  imperfea  commixture  of  both  ;  and,  to  fliew  that  it  does  not  partake  of  the  enarmonic, 
he  remarks  that  we  have  not  in  our  fcale  the  enarmonic  diefis,  which  is  the  half  of  the. 
Jefler  femitone.  Morley  in  the  Annotations  on  the  firft  part  of  his  Inrocuclion.  Vide 
liroiTardj  Di^lionaire  de  Mufique,  Voce  System  a,  to  theianxe.  purpofe. 


96  HISTORYOF   THE   SCIENCE       Book  I, 

SOL  is  of  the  chromatic  genus,  which  pofition  he  fays  he  had  copied 
from  Vicentino's  paper  given  in  to  Mefler  Ghifihno  ;  he  then  cites 
Vincentio's  explanation  of  the  enarnionic  genus,  where  he  charadter* 
izes  the  leap  of  a  ditone  or  major  third  by  the  fyllables  UT  mi.  *  This,' 
fays  Vicentino,  *  my  adverfary  learned  from  the  above  paper,  to  which 
I  fay  he  is  alfo  beholden  in  other  inftances,  for  whereas  he  has 
boldly  faid  that  I  underftand  not  the  chromatic,  I  fay  as  boldly  that 
he  would  not  have  underftood  it  but  for  the  above  paper  of  mine  ; 
becaufe  whoever  (hall  confront  his  printed  treatife  with  that  paper, 
will  find  that  he  has  defcribed  the  genera  in  the  very  words  therein 
made  ufe  of;  and  his  faying  that  he  was  able  before  he  had  feen  it 
to  give  an  example  of  chromatic  mufic  is  not  to  be  believed.  Nay 
farther,  in  his  paper  to  Mefler  Ghifilino  he  afferted  that  the  di- 
tone and  femiditone  are  diatonic  intervals,  but  in  this  treatife  of  his 
he  maintains  the  dired  contrary,  faying  that  re  fa  is  not  of  the 
diatonic,  but  of  the  chromatic  genus.  Here  it  is  to  be  obferved 
that  the  enarmonic  ditone  is  UT  mi,  and  not  ut  re  mi.  In  fhort/ 
continues  Vicentino,  *  it  is  evident  that  what  my  adverfary  has  print- 
ed contradidts  the  reafons  contained  in  his  written  paper.  In  (hort, 
I  am  aOiamed  that  this  work  of  Don  Vincentio  is  made  public,  for 
befides  that  it  is  a  condemnation  as  well  of  himfelf  as  our  judges,  it 
ftiews  that  he  knows  not  how  to  make  the  harmony  upon  the  enar- 
monic diefis.  Nay  he  has  given  examples  with  falfe  fifths  and 
falfe  thirds  ;  and  moreover,  when  he  fpeaks  of  a  minor  femitone, 
gives  MI  FA,  and  fa  mi  as  an  example  of  it.  And  again,  is  of  opi- 
nion that  the  femitones  as  we  now  fing  or  tune  them,  are  femitones 
minor,  whereas  in  truth  they  are  femitones  major,  as  fa  mi  or 
mi  fa/ 

Vicentino  proceeds  to  make  good  his  charge  by  producing  the  fol- 
lowing example  from  his  adverfary's  printed  work,  of  falfe  harmony  : 


5 


fl-^-^ 


^~1>    <^     -^-i^ 


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i>  ■  X   h 


B=a 


Alto  con  la  quinta    falfa 


foprano  con  la  decima  falfa. 


I 


^r-^^   ^  .1^^-^— x-^^ 


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BafTo 


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a 


Tenore      con  le    confon.    falfe. 


It 


Chap.  6.       AND    PRACTICE    OF    MUSIC.  97 

'  It  much  grieves  me/  fays  Vicentino,  *  that  I  am  obliged  to  pro- 

*  duce  this  example  of  falfe  harmony,  but  I  am  not  the  author  of  it, 
'*  and  have  done  it  for  my  own  vindication.     It  now  remains  to  pro- 

*  duce  the  fentence  given  againfl:  me,  which  I  fliall  here  do,   truly 

*  copied  from  the  original,  fubfcribed  by  the  judges,  and  attefted  in 

*  form, 

**  Sententia. 

*'  ChriftI  nomine  invocato,  &c.  Noi  fopradetti  Bartholomeo  Efgo- 
*'  bedo,  &  Ghifilino  Dancharts,  per  quefta  noflra  diffinitiva  fententia 
**  et  laude  in  prefentia  della  detta  congregatlone,  et  delli  fopra  detti 
**  Don  Nicola,  et  Don  Vincentio,  prefenti  intelligent!,  audienti,  et  per 
la  detta  fententia  inftanti.  Pronontiamo  fententiamo  il  predetto  Don 
Nicola  non  haver  in  voce,  ne  in  fcritto  provato  fopra  che  fia  fondata 
la  fua  intentione  della  fua  propofta.  Immo  per  quanto  par  in  voce 
et  in  fcriptis  il  detto  Don  Vincentio  ha  provato,  che  lui  per  uno  com- 
petentemente  cognofce  et  intende  di  qual  genere  fia  lacompofitione 
che  hoggi  communamente  i  compofitori  compongono,  et  fi  canta 
*f  ogni  di,  come  ogiuno  chiaramente  difopra  nelle  loro  informationi 
'**  potra  vedere.  Et  per  quefto  ill  detto  Don  Nicola  douer  eiTere 
**  condennato,  come  lo  condenniamo  nella  fcommelfa  fatta  fra  loro, 
*'  come  difopra.  Et  cofi  noi  Bartholomeo  et  Ghifilino  foprafcritti  ci 
**  fotto  fcriviamo  di  noflra  mano  propria.  Datum  Roms  in  Palatia 
**  Apoftolico,  et  Capella  prasdetta.  Die  vii.  Junij.  Anno  fuprafcripto 
"*'  Pontificatus  s.  D.  N.  D.  Julij.  PP.  iii.  Anno  fecundo  et  laudamo. 

**  Pronuntiavi  ut  fupra.    Ego  Bartholomeus  Efgobedo,  et  de 
**  manu  propria  me  fubfcripli. 

•*  Pronuntiavi  ut  fupra.     Ego  Ghifilinus  Dancherts,  et  manu^ 
"  propria  me  fubfcripfi. 

**  lo  Don  Jacob  Martelli  faccio  fede,  come  la  fententia  et  \z  due  po- 
•*  lize  fopra  notate  fono  fidelmente  imprelTe  et  copiate  dalla  Copia 
*-*  della  medefima  fententia  de  i  fopra  detti  Giudlci. 

**  lo  Vincenzo  Ferro  confirmo  quanto  di  fopra.  ' 

**  lo  Stefano  Bettini  detti  il  Fornarino,  confirmo  quanto  di  fcpra. 
**  lo  Antonio  Barre  confirmo  quanto  di  fopra." 

It  is  to  be  fufpec^ed,  as  well  from  the  publication  of  the  above  fen- 
tence, as  from  the  obfervations  of  Vicentino  on  his  adverfary's  book. 
Vol.  III.  O  tba-t 


^8  HISTORY    OF    THE    SCIENCE       Book  I. 

that  he  is  not  in  earned  when  he  calls  him  a  good  Chriftian,  and 
profeffes  to  forgive  him  ;  nor  indeed  does  it  appear  by  his  book, 
which  has  been  confulted  for  the  purpofe,  that  Vincenzio  formally 
retraced  the  opinion  maintained  in  the  paper  delivered  in  to  Ghifili- 
no,  and  though  the  paflages  above  cited  from  his  treatife  do  in  efFe<ft 
amount  to  a  confeffion  that  his  former  opinion  was  erroneous,  his 
publiHiing  that  work  without  taking  notice  of  the  injury  Vicentino 
had  fuflained  by  the  fentence  againfl  him,  is  an  evidence  of  great 
want  of  candour. 

It  feems  that  the  principal  defign  of  Vicentino  in  the  publication  of 
his  book  was  to  revive  the  pradice  of  the  ancient  genera,  in  order  to 
which  he  invented  an  inftrument  of  the  harplichord  kind,  to  which 
he  gave  the  name  of  Archicembalo,  fo  conftruded  and  tuned,  as  to 
anfv/er  to  the  divifion  of  the  tetrachord  in  each  of  the  three  genera  : 
fuch  a  multiplicity  and  confufion  of  chords  as  attended  this  invention, 
introduced  a  great  variety  of  intervals,  to  which  the  ordinary  divifion 
of  the  fcaje  by  tones  and  femitones  was  not  commenfurate,  he  was 
therefore  reduced  to  the  necedity  of  giving  to  this  inftrument  no 
fewer  than  fix  rows  of  keys,  *  Sei  ordini  di  tafii',  the  powers  of  which 
he  has,  though  in  very  obfcure  terms,  explained  ;  and  indeed  the 
whole  of  the  fifth  and  laft  book  of  Vicentino's  work  is  a  diiiertatiou 
on  this  inftrument. 

CHAP.         VII. 

KIRCHER  relates  that  Gio.  Battifta  Doni,  who  lived  many 
years  after  Vicentino*,  reduced  the  fix  Tafii  of  his  prede- 
celTor  to  three,  and  as  it  fiiould  feem,  without  efi'entially  inter- 
rupting that  divifion  of  tiie  intervals  to  which  the  fix  Tafii  were 
adapted  -j-.  In  another  place  of  the  Mufurgia  he  fays  that  the 
mail:  illufirious  knight  Petrus  a  Valle,  in  order  to  give  an  exam- 
ple of  the  metabolic  ftyle,  procured  a  triarmonic  inftrument  to  be 
conftrudled  under  the  diredion  of  Doni  J.     This  was  Pietro  Delia 

*  This  perfon  was  fecretary  to  cardinal  Barberini,  afterwards  pope  Urban  VITI.  He 
wrote  a  treatife  De  Prreftantiae  Mufic?e  veteris,  another  De  Generi  e  di  Modi  della  Mufica,, 
and  another,  being  annotations  on  the  latter.  He  poficfTed  a  confiderable  degree  of  mufi- 
."al  erudition,  but  appears  to  have  been  a  bigot  in  his  opinions,  A  full  account  of  him 
and  his  writings  will  be  given  in  the  courfe  of  this  woric. 
^    I  Mufurg.  torn.  I.  lib.  VI.  pag.  459.  +  Ibid.  lib.  VII,  pag.  675. 

Valle, 


Chap.  7-     AND    PRACTICE    OF    MUSIC.  99 

Valle  *,  the  famous  Italian  traveller,  who  appears  to  have  been  Inti- 
mate v>^ith  Doni,  for  the  fourth  difcourfe  at  the  end  of  the  Aunotazioni 
of  Doni  is  dedicated  to  him  ;  and  Delia  Valle  in  his  book  of  travels 
takes  occafion  to  mention  Doni  in  terms  of  great  refpecft.  The  tri- 
armonic  in{>rument  mentioned  by  Kircher  is  defcribed  by  Doni  in  the 
fifth  of  his  difcourfes  at  the  end  of  his  Annotazioni. 

In  profecution  of  thefe  attempts  to  reftore  the  ancient  genera,  a 
moft  excellent  mufician,  Galeazzo  Sabbatini  of  Mirandola,  made  a 
bold  effort,  and  gave  a  divifion  of  the  Abacus  or  key-board,  by  means^ 
whereof  he  propofed  to  exhibit  all  imaginable  harmonies  j  but  it 
feems  that  none  of  thefe  divifions  were  ever  received  into  pradice  j 
they  indeed  may  be  faid  to  have  given  rife  to  feveral  effays  towards  a 
new  temperament  of  the  great  fyftem  adapted  to  the  diatonic  genus, 
wherein  it  has  been  propofed  to  reduce  the  feveral  keys  to  the  great- 
eft  poflible  degree  of  equality  in  refpedt  to  the  component  intervals  of 
the  diapafon.  One  Nicolaus  Ramarinus,  in  the  year  1640,  invent- 
ed a  key- board,  fimple  in  its  divifion,  but  changeable  by  means  of 
regifters-)-.  By  this  invention  he  effeded  a  divifion  of  the  tone  into 
nine  commas  ',  but  neither  was  this  contrivance  adopted,  for  in  ge- 
neral the  primitive  divifion  of  the  key-board  prevailed,  and  the  ar- 
rangement of  the  tones  and  femitones  in  the  organ  and  harpllchord^ 
and  other  inftruments  of  the  like  kind,  is  at  this  day  precifely  the 
fame  as  when  thofe  inftruments  were  firft  conftru6ted. 

The  above-mentioned  work  of  Vicentino  is  varioufly  fpoken  of 
among  muficians.  Gio.  Battifta  Doni,  in  his  treatife  De  Generi  e 
de'  Modi  della  Mufjca,  cap.  I.  pretends  to  point  out  many  abfur- 
dities  in  his  divifion  of  the  tetrachord  for  the  purpofe  of  introduc- 
ing the  ancient  genera  into  modern  pradice,  and  treats  his  invention 
of  the  Archicembalo  with  great  contempt.     But  in  his  treatife  De 


in 


*  Pietro  della  Valle  was  a  Roman  gentleman  of  great  learnlns  ;  he  fpent  twelve  j'eais 
travelling  over  Turky,  PerHa,  India,  and  other  parts  of  the  Eaft.  He  married  a  young 
lady  of  Mefopotamia,  named  Sitti  Maani,  who  dying  fliortly  after  his  marriage,  he  pofl- 
poned  her  interment,  carrying  her  remains  about  with  him  in  his  travels  many  years. 
At  length  returning  to  Rome,  he  caufed  her  to  be  buried  with  great  pomp  in  the  church  of 
Araceli,  twenty-four  cardinals  attending  the  folemnity  ;  and  the  afflided  hufband  pre- 
pared to  pronounce  a  funeral  oration  over  her  body,  began  to  deliver  it,  but  was  inter- 
rupted by  his  tears,  and  could  not  proceed.  The  Roman  poets  of  that  time  celebrated  her 
death  with  verfes,  and  there  is  a  book  entitled  Funerale  di  Sitti  Maani  della  Valle  cele- 
brato,  in  Roma  nel  1627,  e  defcritto  da  Girolamo  Rocchi. 
t  Mufurgia,  torn.  I.  lib,  VI.  pag.  460,  et  feq. 

O  2  PrjE^ 


100  HISTORY    OF    THE    SCIENCE       Book  I. 

Praeftantiae  Muficas  veteris  he  is  flill  more  fevere,  and  gives  a  charader 
of  Vicentino  at  length  in  the  following  fpeech,  which  he  puts  into 
the  mouth  of  one  of  the  interlocutors  in  that  dialogue. 

*  I  fuppofe  you  have  feen  in  a  trad,  which  Donius  has  lately  fent 
abroad,  what  depraved  and  abfurd  opinions,  and  altogether  foreign 
to  the  truth,  one  Nicolaus  Vicentinus  has  conceived  concerning  the 
nature,  property,  and  ufe  of  the  genera  :  he  who,  as  if  he  had  re- 
ftored  the  mulic  of  the  ancien-ts  in  its  principal  part,  affedied  that 
fpecious,  not  to  fay  arrogant,  title  or  furname  of  Archimuficus, 
and  boafting  fung  that  the  ancient  mufic  had  juft  now  lifted  up  its 
head  above  the  deep  darknefs.  Do  not  he  and  his  followers^ 
feem  to  think  that  the  nature  and  property  of  the  enarmenic 
genus  confifts  in  having  the  harmonical  feries,  or  what  is  called  the 
perfect  fyftem,  cut  up  into  the  fmallefl  and  mofl  minute  intervals  ? 
from  whence  arifes  that  falfe  and  ridiculous  opinion  that  the  com- 
mon Polypledira  are  to  be  alone  called  diatonic,  and  that  thofe 
which  have  their  black  keys  divided  in  a  twofold  manner  are  chro- 
matic, while  thofe  which  are  thicker  divided,  and  confift  of  more 
frequent  intervals,  are  to  be  termed  enarmonic  :  they  would  not 
have  fallen  into  this  error  if  they  had  underflood  the  ancient  and 
natural  harmonies  in  the  writings  of  Arifloxenus  and  others.  But 
if  Vicentinus  had  been  fomewhat  better  inllrufted  in  the  rules  of  the 
fcience,  and  in  the  reading  of  the  ancient  authors,  when  he  under- 
took the  province  of  reftoring  the  ancient  mufic,  he  would  not  have 
entered  the  facred  places  of  the  Mufes  with  unwafhed  feet,  nor  de- 
feated that  mod  ample  praife  he  would  have  deferved  for  his  honefl 
intentions  by  unprofperous  and  vain  attempts — I  have  often  won- 
dered at  the  confidence  of  Vicentinus,  who,  although  he  could  not 
but  be  fenfible  that  he  had  but  (lender,  or  rather  no,  learning  and 
knowledge  of  antiquity,  neverthelefs  did  not  hefitate  to  undertake  fo 
great  a  work.  But  I  ceafe  to  wonder  when  1  reflect  on  that  Greek 
fentence,  **  Ignorance  makes  men  bold,.but  learning  timid  and  flow." 
To  fay  the  truth,  it  does  not  appear  from  hisboo-k  that  Vicentina's 
knowledge  cf  the  fcience  was  derived  from  any  higher  fource  than 
the  writings  of  Boetius  ;  and  with  no  better  afliftance  than  they  could 
furnifh,  the  reftauration  of  the  genera  feems  to  have  been  a  bold 
and  prefumptuous  undertaking,  and  yet  there  have  not  been  wantiag 
muficians  of  latter  times  who  have  periifted  in  attempting  to  revive 

8  thofe 


Chap./.       AND    PRACTICE    OF    MUSIC.  lor 

thoft  kinds  of  mufic,  which  the  ancients  for  very  good  reafons  re- 
jedled  ;  and  there  is  to  be  found  among  the  madrigals  of  Dominico 
Mazzochi,  printed  at  Rome,  one  intitled  Planctus  Matris  Euryali 
Diatonico-Chromatico-Enarmonico,  that  is  to  fay,  in  all  the  three 
genera  of  the  ancients,  wliich  is  highly  applauded  by  Kircher. 

And  with  refped:  to  Vicentino,  fo  far  are  the  writers  on  mufic  m 
general  from  concurring  with  Doni  in  his  cenfure  of  him,  that  fome 
of  the  moft  confiderable  among  them  have  been  his  encomiafts,  and 
have  celebrated  both  him  and  that  invention  or  temperature  of  the 
Scala  maxima  to  which  his  inftrument  the  Archicembalo  is  adapted. 

*  The  firfl   among  the  moderns   that  attempted   compofitions  in 

*  the    three   genera,    was   Nicolaus    Vicentinus,  who  when  he  per- 

*  ceived  that  the  divifion   of  the  tetrachords,  according  to  the  three 

*  genera  by  Boetius,  could   not  fuit  a  polyphonous   melothefia  and. 

*  our  ratio  of  compofition,,  devifcd  another  method,   which  he  treats 

*  of  at  large  in  an  entire  book.  There  were  not  however  fome 
*'  wanting,   who  being  ftrenuous  admirers   and  defenders  of  ancient 

*  mufic,  cavilled  at   him   wrongfully   and    undefervedly  for  having, 

*  changed  the  genera,  that  had  been  wifely  inftituted  by  the  ancients, 
*'  and  put  in  their  (lead  I  know  not  what  fpurious  genera.     But  thofe 

*  who  (hall  examine  more  clofely  into  the  affair  will  be  obliged  to 
'  confefs  that  Vicentinus  had  very  good  reafon  for  what  he  did,  and 
*■  and  that  no  other  chromatic-enarmonic  polyphonous  melothefia 
'could  be  made  than  as  he  taught  *.' 

And  as  touching  that  divifion  of  the  od:ave  by  Vicentino,  which 
Doni  and  others  are  faid  to  have  improved,  the  late  Dr.  Pepufch  is 
clearly  of  opinion  that  it  was  perfectly  agreeable  to  the  dodrines  of 
the  ancients ;  for  after  remarking  that  Salinas  had  accurately  deter- 
mined the  enarmonic,  and  that  ftridly  fpeaking  the  fourth  con- 
tains thirteen  diefes,  that  is  to  fay,  each  of  the  tones  five,  and  the 
femitone  major  three  :  he  adds  that  the  true  divifion  of  the  odave  is 
into  thirty-one  equal  parts,  which  gives  the  celebrated  temperature 
of  Huygens,  the  moft  perfect  of  all,  and  concludes  his  fentiments 
on  this  fubjedl  with  the  following  eulogium  on  Vicentino  :  *  The 
*-  firfl  of  the  moderns  who  mentioned  fuch  a  divifion  was  Don  Vin- 
*•  centino,  in  hiS  book  intitled,  L'Antica  Mufica  ridotta  alia  moderna.. 

*  Mufurgla,  torn.  I.  lib,  VII.  pag.  660.  • 

*'  Prat^ 


102  HISTORY    OF    THE    SCIENCE       Book  I. 

'  Prattica,  printed  at  Rome,  1555,  folio.     An  inftrument  had  been 

*  made  according  to  this  notion,  which  was  condemned  by  Zarlino 
'  and   Salinas   without   fufficient  reafon.     But  Mr.  Huygens  having 

*  more  accurately  examined  the  matter,  found  it  to  be  the  beft  tem- 
'  perature  that  could   be  contrived.     Though  neither  this  great  ma- 

*  thematician,  nor  Zarlino,  Salinas,  nor  even  Don  Vincentino,  feem 

*  to  have  had  a  diftindt  notion  of  all  thefe  thirty-one  intervals,  nor 

*  of  their  names,  nor  of  their  neceffity  to  the  perfedion  of  mufic  *.' 

Herman  Finck,  chapel-mafler  to  the  king  of  Poland,  in 
1556,   publilhed  in  quarto  a  book  vi'ith  this  title,  *  Pradl-ica  mufica 

*  Hermanni  Finckii,  exempla  variorum  fignorum,  proportionum  et 
'  canonum,  judicium  de  tonis,  ac  quajdam  de  arte  fuaviter  et  artificiofe 

*  cantandi  continens ;'  a  good  mufical  inftitute,  but  in  no  refped: 
better  than  many  others  that  were  publilhed  in  Germany  after  the 
commencement  of  the  (ixteenth  century.  The  author,  though  a 
chapel- mafter,  feems  to  have  been  a  protellant,  for  in  the  beginning 
of  his  work  he  mentions  Luther  of  pious  memory,  and  confirms  the 
accounts  of  him  that  fay  he  loved  and  underftood  mufic. 

Ambrosius  WiLPHLiNGSEDERUS  in  1  563  publifhcd  at  Norim- 
berg,  Erotemata  Mufices  Pracflica?,  a  curious  book,  and  abounding 
with  a  great  variety  of  compofitions  of  the  mod  excellent  mafters  3 
and  in  the  fame  year 

Lucas  Lossius,  of  Lunenburg  publifhcd  a  book  with  this  title, 

*  Erotemata  Mufics  Prafticss  ex  probatiflimus  quibus  que  hujus  dul- 

*  cifiima  artis  fcriptoribus   accurate   et   breviter   feledta   et  exemplis 

*  puerili  inflitutioni  accomodis  illuftrata  jam  primum  ad  ufum  fchola; 

*  Lunenburgenfis  et  aliarum  puerilium  in  lucem  edita,  a  Luca  Loffio. 

*  Item  melodiaj  fex  generum  carminum  ufitatiorum  in  primis  fuaves 

*  in  gratiam  puerorum  fcleOcx  et  edits  Noriberga^,  M.D.LXIIL'  and 
again  in  1570,  with  additions  by  Chriftopher  Prstorius,  a  Silefian  and 
chanter  of  the  church  of  St.  John  at  Lunenburg.  The  title  of  this 
book  of  LolTius  does  in  a  great  meafure  befpeak  its  contents  :  Loffius 
was  a  Lutheran  divine,  born  at  Vacha  in  Hefiia  in  the  year  1508,  and 
for  above  fifty  years  re(3:or  of  the  college  or  public  fchool  at  Lunen- 
burg,  a  celebrated  inftrudlor  of  youth,   and  very  well  ficilled  in  mufic. 

*.  Letter  from  John  Chriftoph.  Pepufch.  Muf.  D.  to  Mr.  Abraham  de  Moivre,  publifhcd 
in  the  Philofophical  TranfaiSlions  for  the  months  of  06t.  Nov.  and  Dec.  1746,  page  266 
et  feq. 

7  He 


Chap.  7-      AND    PRACTICE    OF    MUSIC.  103 

He  died  anno  1582.     Two  years  before  his  death,  which  happened 
anno  1582,  he  compofed  the  following  epitaph  on  himfelf : 

Hac  placide  Lucas  requiefcit  Loflius  urna. 

Parte  cinis  terrse,  qua  levis  ille  fuit. 
Pars  melior  vivens  cjbH  mens  incolit  arcem. 

Inter,  qui  multos  erudiere,  vires. 
Qui  pubi  decies  quinos  atque  amplius  annos 

Tradidit  hie  arles  cum  pietate  bonas. 
Edidit  5c  facili  qui  fimplicitate  libellos 

Non  paucos,  Chrifli,  Pieridumque  fcholis. 
Finibus  Haffiacis  nemorofis  natus,  et  agris, 

Vacham  qua  praeter,  clare  Vifurge,  fiuls. 
Usee  ubi  cognoris,  quo  te  via  ducit  euntem, 

Ledor  abi,  et  felix  vive,  valeque  diu. 

It  was  this  Loffius  that  publillied  the  Lutheran  Pfalmodla, 
mentioned  in  a  preceding  page.  It  fecms  by  the  numerous  publi- 
cations about  this  time  of  little  trads,  with  fuch  titles  as  thefe, 
Erotemata  Muficas,  Muficaj  Ifagoge,  Compendium  Mufics,  that  the 
proteftants  were  defirous  of  emulating  the  Roman  catholics  in  their 
mufical  fervice,  and  that  to  that  end  thefe  books  were  written  and 
circulated  throughout  Germany.  They  were  in  general  printed  in  a 
fraall  portable  fize,  and  a  book  of  this  fort  is  to  be  confidered  as  a 
kind  of  mufical  accidence  :  that  of  Wilphlingfederus,  as  alfo  this  of 
Loffius,  are  excellent  in  their  way;  the  merit  of  them  confifts  in  their 
brevity  and  perfpicuity,  and  furely  a  better  method  of  inftitution  can- 
not be  conceived  of  than  this,  whereby  a  child  is  taught  a  learned  lan- 
guage,  ar.d  the  rudiments  of  a  liberal  fcience  at  the  fame  time. 

Thefe,  and  other  books  of  the  like  kind,  calculated  for  the  in- 
ftrudion  of  children  in  Cantu  chorali  et  in  Cantu  figurali  vel  menfu- 
rali,  i,  e.  in  plain-fong  and  in  figurate  or  menfural  mufic,  are  for 
the  molt  part  in  dialogue,  in  which  the  refponfes,  according  as  re- 
quired, are  fpoke  in  words  or  fung  in  notes.  They  all  contain  a  di- 
vifion  or  title  De  Clavibus  fignatis,  with  a  type  of  the  cliffs  as  they 
are  now  called.     Rhaw  gives  it  in  this  form. 


104 


HISTORY    OF    THE    SCIENCE       Book  I. 


SIgna  clavium  in 
utroque  cantu. 


n 


^ 


^ 


u- 


^ 


^ 


Et  ponuntur  omnes  in  lineali  fitu,  quse- 
dam  tamen  funt  magis  familiares,  utpote  F 
5c  C.  g,  rariufcule.  r  vero  &  d  d  rariffime 
utimur.    Unde 

Linea  fignatis  fuftentat  fcilicet  omnes 
Et  diftant  inter  fe  mutuo  per  diapentem. 
F  tamen   ab  y^w^a  diftinguat  feptim^. 
quamvis. 


And  Wilphlingfedefus  thus : 


In  chorali  cantu  fim- 
pliciter  prefcfibuntur 
ita. 


^ 


* 


In  menfurall  vero 
hoc  modo 


D  aj  T 


^St 


n 


X 


Chap.  7.      AND    PRACTICE    OF    MUSIC.  105 

The  Typus  Clavium  Signatarum  of.  Lucas  Loffiusis  in  this  form  : 


C3 
O 

u 

c 

u 

c 


^-^ 


^-^ 


^ 


^^ 


I 


O 
Pi 

3 

C 

c 


Lampadius,  an  author  of  the  fame  clafs  with  thofe  above-cited, 
and  whofc  Compendium  Mufices  is  mentioned  in  a  preceding  page, 

gives  the  follovi^ing  charadler  m  as  the  fignature  for  G  sol  re  ut 

in  the  feries  of  fuperacutes ;  this  is  worthy  of  obfervation,  for  his 
Compendium  was  publiflied  in  1537,  and  it  is  the  chara<5ter  in  ufe 
at  this  day. 

By  the  above  types  it  appears  that  anciently  five  keys,  or  cliffs,  as 
they  are  called,  were  made  ufe  of,  whereas  three  are  now  found  fuf- 
ficient  for  all  purpofes.  It  may  be  faid  perhaps  that  V  and  dd  were 
at  no  time  neceflary ;  but  it  feems  that  in  order  to  imprint  the  place 
of  the  cliffs  upon  the  memory  of  children,  it  was  neceffary  in  fome 
way  or  other  to  tell  them  that  the  ftation  of  F  was  a  feventh  above 
r,  and  that  the  other  cliffs  were  a  diapente  diftant  from  each  other,- 
this  Loflius  does  in  the  following  verfes  : 

Linea  fignatis  claves  comple<5litur  omnes 

Mutuo  diflantes  inter  fe  per  diapenten, 

F  licet  ab  yo&fxfza  diilinguat  feptima  tantum. 

And  Rhaw  in  thefe  words  : 

Linea  fignatas  fuflentat  fcilicct  omnes, 

Et  diflant  inter  fe  mutuo  per  diapentem. 

F  tamen  ab  yufjLfAoc  diflinguat  feptima  quamvis. 

It  therefore  became  neceflary  to  give  r  as  the  terminus  a  quo  for 
F,  and  though  the  power  of  dd  was  fufiiciently  afcertained  by  the 
Vol.  III.  P  cliff 


io6  HISTORY    OF    THE    SCIENCE       Book  I. 

cliff  g,  it  is  to  be  obferved  that  the  fignature  dd  anfwered  to  the  rule 
above-cited,  and  preferved  the  appearance  of  regularity  j  for  by  this 
difpofition  of  the  cliff,  C  occupied  the  middle  of  the  fcale,  and  as 
there  were  two  cliffs  below,  fo  were  there  two  above  it.  Rhaw  ob- 
ferves  that  the  moft  ufual  are  F,  C,  and  g,  and  that  r  and  dd  are 
very  rarely  ufed  ;  he  adds,  that  it  was  anciently  a  pradlice  to  make 
the  line  for  F  of  a  red,  and  that  for  C  of  a  yellow  colour,  and  that 
inftances  thereof  were  in  his  time  to  be  feen  in  ancient  mufic  books  : 
this  is  a  confirmation  of  a  paffage  in  the  Micrologus  of  Guido  to  the 
fame  purpofe. 

All  thefe  writers  diftinguifh  between  the  cliffs  proper  to  plain-fong, 
and  thofe  ufed  in  figurate  or  menfural  mufic,  which  it  was  thought 
neceffary  to  do  here,  for  unlefs  this  be  thoroughly  underflood, 
very  little  of  the  mufic  of  thefe  and  the  preceding  times  can  be  pe- 
rufed  with  any  degree  of  fatisfadlion. 

They  alfo  feveraily  exhibit  a  Cantilena  or  adual  praxis  of  the  inr 
tervals  by  the  voice,  in  order  to  imprefs  them  on  the  minds  of  chil- 
dren. The  moll:  ancient  example  of  this  kind  known  to  be  extant  is 
a  Cantilena  for  the  practice  of  learners,  inferted  in  the  next  preceding 
volume  of  this  work,  faid  to  have  been  framed  by  Guido  himfelf ; 
but  for  this  affertion  there  feems  to  be  no  better  authority  than  tra- 
dition, for  it  is  not  to  be  found  in  any  of  his  writings.  Thofe  con- 
tained in  the  Enchiridion  of  George  Rhaw,  and  the  Compendium 
Muficcs  of  Lampadius  differ  but  very  little  from  that  of  Guido  above- 
mentioned. 

Claudius  Sebastianus  publidied  at  Strafburg  in  1563  a  book 
intitled  Bellum  Muficale,  inter  Plani  et  Menfuralis  Cantus  Reges.  A 
whimfical  allegory,  but  a  learned  book. 

GiosEFFo  Zarlino,  of  Chioggia  *,  a  mod  celebrated  theoriil:  and 
pradical  mufician,  was  born  in  the  year  1540  j  from  the  greatnefs  of 
his  erudition  there  is  reafon  to  imagine  that  he  was  intended  for  fome 
learned  profeffion  ;  this  at  lead  is  certain,  that  it  was  by  the  recom- 
mendation of  Adrian  Willaert  that  he  betook  himfelf  to  the  ftudy  of 
mufic,  and  Sahnas  afferts  that  he  was  a  difciple  of  Willaert.  Bayle 
flyles  him  prefident  and  diredior  of  the  chapel  of  the  Signory  of  Ve- 
nice, but  the  true  defignation  of  the  office  is  maeftro  di  capella  of 

*  An  epifcopal  city  in  one  of  the  ides  of  the  gulph  of  Venice,  in  Latin  Clodia,  whence 
comes  the  Latin  furnanie  of  Clodienfis  given  to  Zarlino. 

I  the 


Chap.  7.       AND    PRACTICE    OF    MUSIC.  107 

the  church  or  temple  of  St.  Mark.  He  compofed  the  mufic  for  the 
rejoicings  at  Venice  upon  the  defeat  of  the  Turks  at  Lepanto,  which 
was  much  applauded ;  notwithftanding  which  the  world  has  chofen 
to  confider  him  as  a  theorift  rather  than  a  pradical  compofer,  and  in 
this  they  feem  to  have  judged  properly,  for  in  the  fcience  of  mufic 
he  is  indifputably  one  of  the  befl  writers  of  the  modern  times.  He 
died  at  Venice  in  February  1599,  as  Thuanus  relates,  who  has  cele- 
brated him  among  the  learned  men  of  that  time. 

In  the  catalogue  of  the  library  of  Thuanus  mention  is  made  of  two 
books  of  Zarljno,  the  one  intitled  Dimoftratloni  Harmoniche,  printed 
at  Venice  in  the  year  1571,  and  afterwards  with  additions  in  1573  > 
and  the  other  printed  in  the  fame  city  in  the  year  1588,  and  intitled 
SopplimentiMulicale;  but  the  heft  edition  of  thefe  and  his  other  works 
is  unqueftionably  that  of  1589,  in  folio,  printed  at  Venice  with  this 
title,  De  tutti  1'  Opere  del  R.  M.  Giofeffo  Zarlino  Da  Chioggia. 
Thefe  confift  of  four  volumes,  the  firft  is  intitled  Iftitutioni  Harmo- 
niche, the  fecond  Dimoftrationi  Harmoniche  in  cinque  Ragiona- 
menti,  the  third  Sopplimenti  Muficale ;  the  fourth  volume  is  a  col- 
ledion  of  tradts  on  different  fubjedls,  which  have  no  relation  to 
mufic. 

In  the  three  firft:  volumes  of  thefe  his  works,  Zarlino,  in  a  fi:yle,  in 
the  opinion  of  fome  very  good  judges  of  Italian  literature,  not  inele- 
gant, has  entered  into  a  large  difcourfe  on  the  theory  and  pradice  of 
tnufic,  and  confidered  it  under  all  the  various  farms  in  which  it  ap- 
pears in  the  writings  of  the  Greek  harmonicians,  and  the  writers  of 
later  times  :  as  he  appears  to  have  been  acquainted  with  the  Greek 
language,  there  is  little  doubt  but  that  he  derived  his  intelligence 
from  the  genuine  fource  j  and  as  to  Boetius  and  the  other  Latin  and 
Italian  writers,  he  feems  to  be  pofi'efi^ed  of  all  the  knowledge  that 
their  writings  were  capable  of  communicating. 

As  the  fubftance  of  what  is  contained  in  the  ancient  writers  has  al- 
ready been  given  in  the  courfe  of  this  hiftory,  it  is  unnecefiTary  to  in- 
cumber it  with  a  minute  abridgment  of  fo  copious  a  work  as  that  of 
Zarlino  ;  and  a  general  account  of  the  contents  of  the  Iftitutioni,  the 
Dimofi:rationi  and  the  Sopplimenti,  with  occafional  remarks  and  ob- 
fervations  on  the  feveral  particulars  contained  in  them,  will  fuffice  to 
fhew  the  nature  and  tendency  of  Zarlino's  writings,  and  exhibit  a  ge- 
neral view  of  the  merit  and  abilities  of  their  author. 

P  2  the 


io8  HISTORY   OF    THE    SCIENCE       BookL 

The  Iftitutioni  begins  with  a  general  eulogium  on  mufic,  fetting 
forth  its  excellence  and  ufe  as  applicable  to  civil  and  religious  piirpofes  j 
in  his  divifio-n  of  mufic  into  mundane  and  humane  Zarlino  follows 
Boetius  and  the  other  Latin  writers.  Of  the  number  Six,  he  fays  that 
it  comprehends  many  things  of  nature  and  art ;  and  in  a  far  more  ra- 
tional way  than  Bongus  has  done,  he  confiders  its  properties  fo  far 
only  as  they  relate  to  mufic. 

In  his  explanation  of  the  feveral  kinds  of  proportion  of  greater 
and  lefTer  inequality,  and  of  the  difference  between  proportion  and 
proportionality  he  is  very  particular,  and  very  learnedly  and  judici- 
oufly  comments  upon  Boetius,  who  on  this  head  is  rather  too  concife. 

The  account  of  the  ancient  fyflem  given  by  him  cannot  be  fuppofed 
to  contain  any  new  difcoveries,  all  that  can  be  faid  about  it  is  to  be 
found  in  the  writings  of  the  Greek  harmonicians,  and  with  thefe  he: 
fecms  to  have  been  very  well  acquainted. 

In  his  defcription  of  that  fpecies  of  the  diatonic  genus  called  theSyn- 
tonous,  or  intenfe  of  Ptolemy,  in  which  the  tetrachord  is  divided  into 
tone  major,  tone  minor,  and  a  greater  hemitone  in  the  ratio  of  i6  to  15,. 
he  gives  it  the  epithet  of  Natural,  an  expreflion  which  feems  to  befpeak 
that  prediledtion  in  its  favour,  which  he  manifefted  in  a  formal  difpute- 
with  Vincentio  Galilei  on  the  fubjed:,  in  which  he  contended  for  its- 
fuperior  excellence  in  comparifon  with  every  other  of  the  diatonic  fpe- 
cies, and  fucceeded. 

Chap.  XXV.  of  the  fecond  part  of  the  Iflitutloni  is  an  explanation* 
of  an  inftrument  called  the  Mefolabe,  faid  to  have  been  invented  ei- 
ther by  Archytas  of  Tarentum,  or  Eratofthenes,   the  ufe  whereof  is-^ 
to  diftinguifh,  by  means  of  mean  proportionals,  between  the  rational. 
and  irrational  intervals,   and  to  demonftrate   the  impoffibility   of  an 
equal  divifion  of  the  fuperparticular  ratios.      This  inftrument   was  it 
fcems  a  great  favourite  with  Zarlino,  for  in  the  Sopplimenti,  lib.  IV; 
cap.  9.   he  enlarges  on  the  utility  of  it,  and  complains  of  his  difciples 
that  they  could  not  be  prevailed  on  to  ftudy  it  with  that  degree  of  at- 
tention which  it  merited. 

Chap,  xxxix.  contains  a  figure  of  the  diapafon,  with  a  reprefenta- 
tion  of  the  diatonic  tetrachord,  conftituted' of  a  greater  femitone,  in 
the  ratio  44  of  a  tone  major  ?,  and  tone  minor  ^^^  -,  this  is  the  divifion 
which  Zarlino  throughout  his  works  contends  for  as  the  natural  and 
only  true  one,  and  is  called  the  fyntonous  or  intenfe  diatonic  of  Pto- 
lemy.    The  figure  above-mentioned  is  thus  delineated  by  Zarlino  : 

Chap, 


,>,-CHap^7-      AND    PRACTICE    OF    MUSIC, 


109 


I80 


9 


1^ 
-LSL 


To.  major|To.minor  jScmajus  . To. major  iTo.  minor  .'To.  major  JS 


cmams 


V 


.^i 


onu! 


^dito. 


^■7- 


ditot 


'€•/• 


.far< 


■ftfe 


>en 


D    1     A     P     A     S 

0 

N 

with  its  conftitue 

nt 

Parts 

2 

1 

X)ia\>* 


Chap,  xl IX.  contains  the  author's  fentiments  of  the  ancient  gcnei* 
arnd  their  fpecies,  upon  which  he  does  not  fcruple  to  pronounce  that 
the  ancient  diviflon  of  them  is  vain  and  unprofitable. 

The  third  part  of  the  Iftitutioni  contains  the  elements  of  counter- 
point, and  direds  how  the  feveral  parts  of  a  Cantilena  are  to  be  dif* 
pofed.  It  contains  alfo  the  precepts  for  the  compofition  of  fugue, 
whereon  difcourfing,  the  author  makes  frequent  mention  of  Jufquin, 
Brumel,  and  other  excellent  compofers,  and  celebrates,  in  terms  of 
the  higheft  refpeft,  the  excellencies  of  Adrian  Willaert  his  mafter. 

The  fourth  and  lart:  part  of  the  Iftitutioni  treats  of  the  modes  or 
tones,  that  is  to  fay,  thofe  of  the  ancients,  and  thofe  other  inftituted 
by  St.  Ambrofe  and  pope  Gregory,  and  adapted  to  the  fervice  of  the 
church.  Zarlino's  account  of  the  former  contains  a  great  deal  of  that 
hiflory  which  is  juftly  fufpeded  to  be  fabulous,  as  namely,  that  the 

Phry^ 


no  HISTORY    OF   THE    SCIENCE       Book  I. 

Phrygian  was  invented  by  Marfyas,  the  Mixolydian  by  Sappho  of 
Le{bos,  the  poetefs,  and  the  others  by  perfons  of  whom  fcarce  any 
memorials  are  extant.  In  this  part  of  his  work  Zarlino  very  clearly 
explains  the  difference  between  the  harmonica!  and  arithmetical  divi- 
fion  of  the  diapafon,  from  whence  the  two  kinds  of  mode,  the  au- 
thentic and  the  plagal  are  known  to  arife  ;  but  here  with  Glareanus 
he  contends,  notwithftanding  the  opinion  of  many  others  to  the  con- 
trary, that  the  modes  are  neceilarily  twelve;  he  does  not  indeed  pro- 
fefs  to  follow  Glareanus  in  his  divifion,  but  whether  he  has  fo  done 
or  not  is  a  matter  in  which  the  fcience  of  mufic  is  at  this  time  fo  lit- 
tle interfled,   that  it  fcarce  deferves  the  pains  of  an  enquiry. 

Chap,  xxxii.  of  this  lad  part  contains  fome  rules  for  accommodat- 
ing the  harmony  of  a  cantilena  to  the  words  which  are  the  fubjed:  of 
it.  Rules  indeed,  if  any  can  be  prefcribed  for  accommodating  melody 
to  words,  might  be  of  ufe,  but  between  the  harmony  of  founds  and 
the  fentiments  of  poetry  there  feems  to  be  no  neceflary  relation. 

The  Dimoftrationi  Harmoniche  are  a  feries  of  difcourfes  in  dia- 
logues, divided  into  five  Ragionamenti.  The  author  relates  that  in 
the  year  1 562,  his  friend  Adrian  Willaert  being  then  afflid;ed  with  the 
gout,  he  made  him  a  vifit,  and  found  at  his  houfe  Francefco  Viola, 
chapeUmafter  to  Alfonfo  d'Efte,  duke  of  Ferrara,  Claudio  Merulo, 
whom  heftyles  a  mort:  fweet  organift  *  j  they  begin  a  difcourfe  on  the 
fubjefl  of  mufic,  in  which  each  delivers  his  fentiments  with  great 
freedom. 

The  fubjedls  treated  on  in  the  firft  of  the  Ragionamenti  arc  the 
proportions  of  greater  and  leifer  inequality,  and  the  meafure  of  inter- 
vals. The  whole  of  this  dialogue  may  be  faid  to  be  a  commentary 
on  Boetius  J  the  thirty-ninth  and  laft  propofition  contains  a  demon- 
ftration  that  fix  fefquiodave  tones  exceed  the  diapafon. 

The  fecond  and  third  of  the  Ragionamenti  confifi:  for  the  moft  part 
of  demonftrations  of  the  ratios  of  the  confonances  and  the  leiTer  in- 
tervals. In  the  fecond.  Prop.  xiv.  is  a  diagram,  an  improvement 
on  the  Helicon  of  Ptolemy,  whereby  the  ratios  of  the  confonances 
are  clearly  demonfl;rated. 

*  Claudio  Merulo,  or  MerulA,  of  Correggio,  tiT'a^  organift  to  the  duke  of 
Parma.  He  compofed  mafles,  pfalms,  and  motets,  and  publiflied  Toccata  d'  Ifttavolatu- 
ta  d'Organo.     In  Roma,  appreflb  Simone  Vefovio*  I59B>  fol. 

The 


Chap.;.      AND    PRACTICE    OF   MUSIC. 


ill 


A         e 


The  above  parallelogram  is  divided  into  fix  parts  by  lines,  which 
are  bifeded  by  a  diagonal  line  proceeding  from  a  point  that  divides  the 
fide  C  D  equally,  to  the  oppofite  angle.  The  fide  of  the  parallelo- 
gram A  B  is  fuppofed  to  contain  tvt^elve  parts  ;  the  bifedion  of  the 
line  C  D  is  equal,  that  is  to  fay  it  gives  fix  parts  on  each  fide,  but 
the  bifedion  of  the  other  lines  is  fuch,  as  gives  the  follow^ing  harmo- 
nical  proportions,  amounting  in  number  to  no  fewer  than  forty-five, 
as  appears  by  this  table. 


TABLE 


It  2 


HISTORY   OF  THE   SCIENCE       Book  I. 


TABLE 


f 


10.  Semiditone 
9.  DiatefTaron 
8.  Diapente 
6.  Diapafon 
12(5.  Diapafon  and  femiditonc 
4.  Diapafon  and  diapente 
3.  Difdiapafon 
,2.  Difdiapafon  and  diapente 
2.  Trifdiapafon  and  diapente 


^6.  Diateflaron 
5.  Hexachord  minor 
8/  4.  Diapafon 

3.  Diapafon  and  diateffaron 
Difdiapafon 
Trifdiapafon 


2. 


I. 


10 


r  ().  Tone  minor 

8.  Ditone 

6.  Hexachord  major 

5.  Diapafon 

4.  Diapafon  and  ditone 

3.  Diapafon  and  Hexachord  major 

2.  Difdiapafon  and  ditone 
>^  1*  Trifdiapafon  and  ditone 


Semiditone 
Diapente 
Diapafon 

Diapafon  and  diapente 
I .  Difdiapaf.  and  femiditonc 


■I  1. 


Ditone 
^1  3.  Hexachord  major 


2.  Diapafon  and  ditone 
I.  Difdiapafon  and  ditone 


'3.  DiatefTaron 
2.  Diapafon 
I.  Difdiapafon 


2.  Diapente 

Diapafon  and  diapente 


^  2*   I  Diapafon 


rZ.  Tone  major 
6.  Diapente 
5.  Heptachord  minor 
.9/  4.  Diapafon  and  tone  major 
3.  Diapafon  and  diapente 
2.  Difdiapafon  and  tone  major 
^  I.  Trifdiapafon  and  tone  major 

The  divifions  of  the  lines  e  f  and  11  o,  which  give  the  proportions 
of  1 1  to  I,  and  7  to  5,  are  irrational,  and  are  therefore  omitted  in 
the  table. 

The  fourth  of  the  Ragionamenti  direds  the  diviiion  of  the  mono- 
chord,  and  treats  in  general  terms  of  the  ancient  fyftem. 

The  fifth  and  laft  contains  the  fentiments  of  the  author  on  the 
modes  of  the  ancients,  in  which  little  is  advanced  that  is  not  to  be 
found  elfewhere. 

The  Sopplimenti  Muficali  is  dedicated  to  Pope  Sixtus  V.  the  au- 
thor ilyles  it  *  A  declaration  of  the  principal  things  contained  in  the 

*  two 


Chap.  7.       AND    PRACTICE    OF    MUSIC.  113 

*  two  former  volumes,  and  a  formal  defence  of  the  author  againfi:  the 

*  calumnies  of  his  enemies.*  The  ground  of  the  difpute  between 
Zarlino  and  his  adverfaries  was  principally  this,  Zarlino  through  the 
whole  of  the  two  former  volumes,  in  his  difcrimination  of  the  five 
feveral  fpecies  of  the  diatonic  genus,  reje(fls  the  ditonic  diatonic  of 
Ptolemy  H|  |  |,  which  indeed  feems  to  be  no  other  than  the  diatonic 
of  Pythagoras  himfelf,  and  prefers  to  it  the  intenfe  or  fyntonous  dia- 
tonic of  Ptolemy,  as  it  is  called,  44  ?  Y>  ^is  being  the  mofl  natural 
to  the  ear.  This  is  in  truth  the  diatonic  of  Didymus,  for  it  was  he 
that  firft  diftinguifhed  between  the  greater  and  leffer  tone,  with  this 
difference,  that  he  places  them  in  this  order  ^4  -g-  |,  thereby  giving 
to  the  lefTer  tone  the  firft  place  in  the  tetrachord,  whereas  Ptolemy 
gives  it  the  fecond ;  and  in  thus  preferring  the  fyntonous  to  the  dito- 
nic, Zarlino  as  Dr.  Wallis  obferves,  was  followed  by  Kepler,  Mer- 
fennus,  Des  Cartes,  and  others  *. 

This  the  Lutenifts,  who,  as  they  were  for  the  moft  part  Ariftoxe- 
neans  in  pradlice,  had  adopted  another  tuning,  oppofed.  They  con- 
tended for  a  tetrachord  of  two  equal  tones  and  a  femitone,  but  yet 
refufed  to  abide  a  determination  of  the  queftion  by  any  other  judg- 
ment than  that  of  the  ear. 

At  the  head  of  thefe  opponents  of  Zarlino  ftood  Vincentio  Galilei, 
a  man  of  great  learning  and  ingenuity,  and  who,  though  not  a  mufi- 
cian  by  profeffion,  was  deeply  fkilled  in  the  fcience.  He  was  befides 
a  moft  exquifite  performer  on  the  lute,  and  a  favourer  of  that  divifion 
of  Ariftoxenus  which  is  called  the  intenfe,  and  gave  to  the  tetrachord 
a  hemitone  and  two  whole  tones.  This  perfon,  who  had  formerly 
been  a  difciple  of  Zarlino,  publiftied  as  it  feems  a  (hort  examen  of 
the  Iftitutioni  upon  its  firft  publication,  intitled  '  Difcorfo  intorno  all' 
Opere  del  Zarlino',  which  he  criticifes  with  an  unwarrantable  de- 
gree of  feverity  j  but  in  a  fubfequent  work,  intitled  *  Dialogo  della 

*  Dr.  WalHs  makes  it  a  queftion  whether  or  no  Zarlino  was  the  firft  that  endeavoured 
to  introduce  the  fyntonous  diatonic  inftead  of  the  ditonic  diatonic,  but  Galilei,  in  his  Dia- 
logue, pag.  112,  exprefsly  afterts  that  Lodovico  Fogliano  of  Modena,  and  who  publiflicd 
in  1529  a  folio  volume  intitled  Mufica  Theorica,  of  which  an  account  has  herein  before 
been  given,  was  the  firft  who  difcovered  that  the  diatonic  of  his  time  was  not  the  ditonic, 
but  the  fyntonous  or  intenfe  diatonic.  ThisZarlino,  in  the  Sopplimenti,  lib.  Ill  cap.  ii. 
feems  to  deny  ;  but  the  truth  of  the  matter  is,  that  Fogliano,  in  the  fecond  fe^lion  of  his 
book,  treats  exprefsly  '  De  utilitate  toni  majoris  et  minoris,'  which  he  would  hardly  have 
done,  but  with  a  view  to  eftablifli  that  divifion  of  the  tetrachord  which  Zarlino  afterwards 
contended  for. 

Vol.  III.  Q^  mufica 


114  HISTORY    OF    THE    SCIENCE       Book  I. 

inufica  antica  et  della  moderna/  he  takes  great  pains  to  prove  that 
the  preference  which  Zarlino  had  given  to  the  fyntonous  fpecies  of 
the  diatonic  above-mentioned,  had  no  foundation  in  nature.  The 
condudl  of  Galilei  in  this  difpute  is  worthy  of  remark.  He  confi- 
ders  Zarlino  as  an  innovator  or  corrupter  of  mufic,  and  while  he  is 
treating  him  as  fuch,  he  endeavours  to  make  it  believed,  that  he  was 
the  firft  among  the  moderns  that  attempted  to  introduce  that  fpecies 
of  the  diatonic  which  admitted  of  diffimilar  tones,  but  fearing  left  in- 
ftead  of  a  corrupter  he  might  in  the  opinion  of  fome  be  deemed  an 
improver  of  mufical  pradice,  he  takes  care  to  inform  the  world,  and 
indeed  exprefsly  alTerts,  that  Lodovico  Fogliano,  many  years  before 
Zarlino,  found  out  and  maintained  that  the  diatonic  even  of  that  day 
was  not  the  ditonic,  but  the  fyntonous  diatonic  of  Ptolemy. 

The  Sopplimenti  Muficali  of  Zarlino,  lib.  III.  cap.  2,  contains  a 
defence  of  the  author  againft  this  invidious  charge  of  Galilei  whom 
he  ironically  ftyles  his  loving  difciple,  *  il  m.io  difcepolo  amorevole.' 
As  to  the  merits  of  the  queftion  between  them,  they  Teem  to  be  de- 
termined in  favour  of  Zarlino,  for  not  only  have  Kepler,  Merfennus, 
and  Des  Cartes  adopted  the  divifion  which  he  contended  for*,  but  it 
is  the  only  one  pradtifed  at  this  day. 

*  As  this  aflertion  does  at  prefent  ftand  on  no  better  ground  than  a  bare  di£l:um  of  Dr. 
Wallis,  in  the  appendix  to  his  edition  of  Ptolemy,  it  may  here  be  expeded  that  in  fupport 
of  it  the  opinions  of  the  authors  above  named  fliould  feverally  be  adduced.  To  begin  with 
Kepler.  This  author,  who  in  his  reafoning  about  mufic  afFecls  a  language  peculiar  tc^ 
himfelf,  after  giving  the  preference  to  the  divifion  of  the  tetrachord  ^  -^  ^,  fpeaks  of  two 
kinds  of  mufical  progreffion,  the  hard  and  the  foft,  which  others  charafterize  by  the  terms 
major  and  minor  third.  In  the  former  of  thefe  proceeding  from  the  fyllable  UT,  which  is 
the  progreffion  referred  to  by  all  who  fpeak  of  the  difpofition  of  the  greater  and  lefler  tone» 
he  fays  that  in  the  divifion  of  the  tetrachord,  nature  herfelf  informs  us  that  the  greater  tone 
has  the  lower  place,  whereby  he  expreffes  his  acquiefcence  in  the  opinion  of  Zarlino  and 
his  adherents  upon  the  queftion  in  debate.     Harmonices  Mundi,  lib.  III.   cap.  vii. 

As  to  Merfennus,  who  appears  to  have  reviewed  the  controverfy  with  great  attention,  he 
fays  that  nature  pays  no  regard  to  the  convcniency  of  it,  and  that  though  the  divifion  c^ 
Ariftoxenus  may  for  particular  reafons  be  preferred  by  thofe  who  play  on  the  lute,  it  does 
by  no  means  follow  that  it  is  upon  the  whole  the  moft  eligible  ;  for,  adds  he,  *  of  all  fyftems 

<  poffible  that  is  the  moft  natural  and  eafy  to  fing  which  follows  the  harmonical  numbers,  as 

<  is  experienced  when  good  voices  fing  feveral  parts  together,  who  could  not  do  all  that  is 

*  marked  in  fimple  or  diminiflied  counterpoint  commonly  made  ufe  of,  unlefs  they  obferved 

*  the  diftindion  of  the  greater  and  leffcr  tone,  and  that  of  the  greater,  mean  and  leffer  femi- 

•  tone,  and  of  feveral  others  elfewhere  fpoken  of  by  him.'  Hfarm.  Univerf.  Des  Inftruments, 
liv.  II.  pag.  61.     And  in  another  place,  '  that  fyftem  which  confiilis  of  a  greater  and  lefler 

•  tone,  and  alfo  of  different  femitones,  and  other  jufl  intervals  both  confonant  and  diflbnant, 
«  is  the  beft  of  all,  and  that  this  is  the  very  nature  of  the  fong,  the  ear,  the  imagination, 

'  the 


Chap.  7-      AND    PRACTICE    OF    MUSIC.  115 

The  Soppllmenti  is  of  a  mifcellaneous  nature,   for  it  is  a  defence 
of  many  opinions  advanced  by  the  author  in  his  former  works.     It 

•  the  inftruments,  and  the  underftandingall  confirm,  provided  experiments  are  made  ufeof 

*  for  an  accurate  enquiry  into  it.'     A4erfen.  Harmonic.  lib.  V.  De  Diflbnantiis,  pag.  86. 

_  Tiie  fentiments  of  Des  Ci\rtes  on  the  queftion  which  of  all  others  i';  the  mod  eligible  di- 
vifion  of  thediapafon,  are  deducible  from  the  chaprer  in  his  Compendium  Muficje,  intitled 
De  Gradibus  five  Tonis  muficis,  wherein  he  afferts  that  the  order  to  be  obferved  in  confti- 
tuting  the  intervals  contained  in  the  diapafon  ought  to  be  fuch,  as  that  a  femitone  major 
fhall  have  on  each  fide  next  to  it,  a  tone  major  and  a  tone  minor.  This  difpofition  he  illuf- 
trates  by  the  following  figure. 


288 


Upon  which  it  may  be  obferved  that  A  is  afi^umed  for  the  chord  A,  and  the  other  letters 
for  the  correfponding  chords  in  the  fcale.  Between  A  and  B  b  the  ratio  is  ^-^y  which  in 
fmaller  numbers  is  yfj  and  between  Eand  F^,  alfo-ff,  both  of  which  are  femitones  ma- 
jor, ^%h  is  |>  and  i-|°  is  ■^,  thus  are  produced  the  intervals  contended  for,  -J^  I  "^>  which 
in  the  opinion  of  Zarlino  and  others  conftitute  the  fyntonous  or  intenfe  diatonic  tetrachord 
of  Ptolemy,  and  in  that  of  Des  Cartes  is  the  moft  eligible  divifion  or  temperament  of  that 
interval,  and  confequently  of  the  diapafon 

There  is  little  doubt  but  that  that  divifion  of  the  tetrachord  which  confl:itutes  the  fyn- 
tonous or  intenfe  fpecies  of  the  diatonic  genus  is  in  theory  the  mod  eligible,  and  as  far  as 
regards  vocal  mufic,  it  may  be  equally  weil  adapted  to  pradice.  But  it  feemsthat  in  fuch 
inftruments  as  the  organ,  and  others  where  the  meafure  of  intervals  does  not  depend  upon 
the  performer,  fuch  a  divifion  of  the  tetrachord  as  diftinguifties  between  the  greater  and 
lefler  tone  is  not  admiflible  Nay,  were  the  concords  themfelves  in  fuch  inftruments  to 
be  uniformly  tuned  to  the  degree  of  perfedion  required  by  a  nice  ear,  fome  of  the  confo- 
nant  intervals  would  be  fo  conftituted  as  to  approach  very  nearly  to  difcord. 


0^2 


For 


Ii6  HISTOPvY    OF    THE    SCIENCE       Book  L 

contains  alfo  many  particulars,  many  diagrams  and  nnathematical 
problems,  calculated  to  explain  and  iliiiftrate  his  dodrines.  In  the 
fourth  book  he  treats  of  the  Genera  and  their  fpecies  or  colours,  as 
they  are  called,  and  propofes  a  temperature  adapted  to  the  lute, 
whereby  the  diapaibn  is  divided  by  femitones  into  twelve  equal  parts. 
In  the  lixth  book  he  treats  of  the  ancient  modes,  which  with  Gla- 
rcanus  he  makes  to  be  twelve  in  number,  Jn  the  eighth  and  lad 
book  he  fpeaksof  the  organ,  and  defcribes  one  in  the  ancient  city  of 
Grado,  the  figure  whereof  is  given  in  a  preceding  page  of  this 
work. 

Many  very  curious  particulars  and  littk  anecdotes  of  perfons  and* 
things  relating  to  muiic  are  mterrperfcd  in  thefe  three  volumes  of 
Zarlino's  works,  viz.  the  Ktitutioni,  Dimoftrationi,  and  Sopplimenti, 
fome  ol  the  moft  remarkable  are  thefe.  Deer  are  delighted  with  the 
found  of  mufic,   and  huntlmen   by  means   thereof  ealily  take  themv 

For  this  reafon  it  is  fair!  that  Zailiiio  could  never  prevail  in  his  endeavours  toeflablifh  a 
tuning  of  the  organ  correfpondeiit  to  the  divifion  of  the  tetrachord  in  the  fyntonous  diato- 
nic ;  for  Bontempi  attefls,  that  not  only  no  organ  in  Italy  or  Europe  was  altered,  or  the 
tuning  thereof  in  any  degree  varied,  in  confequence  of  his  fpecuhuions,  but  that  that  of 
the  chapel  of  St.  Mark,  where  he  prefided,  continued  exa£lly  in  the  itate  it  had  been  left 
in  by  Claudio  Monteverde,  Giovanni  Rovetta,  and  others  his  predeceflbrs.  Hiftoria  Mu- 
f)ca  di  Bontempi,  Parte  prima,  CorollariolV. 

The  difficulties  arifing  from  that  furd  quantity  which  in  a  couvi^  of  numerical  calcula- 
t'on  arifes  in  the  diviiHon  of  the  diapafon,  was  but  little  noticed  in  vocal  performance,  fop 
this  reafon,  that  the  voice  in  finging  aecomnwdates  itfelf  to  the  ear,  and  with  wonderful- 
iacility  conftitutes  only  grateful  intervals,  infenfibly  rejecting  fuch  as  are  diiTonant.  But 
in  fuch  inftruments  as  the  organ  this  quantity  was  for  a  long  time  found  to  be  an  unma- 
nageable thing  ;  a  feries  of  fifths  all  perfe£t  through  the  fcale  was  what  the  ear  would  not 
bear,  and  this  confideration  fuggefted  the  invention  of  what  is  called  a  Temperam-£nt,  by 
which  ivS  to  be  underftood  a  tuning,  wherein  by  making  the  intervals  irrational,  more,  in 
re!  peel  of  harmony  and  coincidence  of  found  is  given  to  the  diffonances  than  is  taken  from 
iheconfonances:  thefirft  eflay  of  this  kind  is  faid  by  Polydore  Virgil,  De  Rerum  Inventorl;- 
bus,  lib.  III.  cap.  xviii  to  have  been  the  invention  of  fome  very  learned  man  in  the  fcience 
ol  mufic,  but  whofe  name,  country,  and  even  the  age  he  lived  in,  are  irrecoverably  loft  ;  it 
confiflcil  in  the  intenfion  of  the  diateflaron,  and  the  remiffion  of  the  diapente,  and  by  neccf- 
lary  confequence  made  both  the  tones  equal.  Bontemp  i86.  Salinas,  lib.  III.  cap.  xiii,  has 
remarked  upon  this  divifion  thattheequality  of  the  tones  implies  the  taking  away  of  the  ccm- 
ma;  and  in  another  place,  that  by  this  divifion  tbe  redundant  commas  in  the  diapafon, 
which  he  makes  to  be  three,  are  dillributed  throughout  the  diapafon  fyftem.  And  this  tem- 
perament is  preferved  by  thofe  tuners  of  the  organ  who  make  it  a  rule,  and  it  is  almoil  an 
univerfal  one,   to  tune  the  thirds  as  fliarp,  and  the  fifths  as  flat,  as  the  ear  will  bear  them. 

The  reduftion  of  the  tones  to  ati  equality  rendered  each  of  them  capable  of  a  diviHon 
into  femitones,  and  gave  rife  to  the  invention  of  that  called  by  the  Italians  Syflema  Parti- 
cipato,  in  which  the  diapafon  is  divided  into  tv/elve  femitones,  whereby,  in  the  opinion  of 
fome,  the  diatonic  and  chromatic  genera  are  united,  as  indeed  will  feem  to  be  the  cafe 
upon  a  bare  view  of  the  keys  of  an  organ  or  harpfichord. 

Iftit. 


Chap.  7-     AND    PRACTICE    OF    MUSIC.  1x7 

Iflit.  11.  pag.  II*.  —  The  human  pulfe  is  the  meafure  of  the 
beats  in  mufic.  Ibid.  256. — Country  people,  and  thofe  that  under- 
ftand  not  mufic,  naturally  fing  the  diatonic  odtave  with  a  third  and 
lixth  major.  Ibid.  262, — Domenico  da  Pefaro,  an  excellent  fabrica- 
torof  harpfichords,  and  other  inrtrumenti  da  penna.  Ibid.  171. — Boc- 
cace  invented  the  Rima  Ottava.  Ibid.  381. — Jufquin  confidered  the 
fourth  as  a  confonance,  and  ufed  it  in  two  parts  without  any  accom- 
panynient.  Ibid.  i^y. — Vincenzo  Colombi,  and  Vincenzo  Colonna  of 

*  The  author  affcrts  this  fa£l  on  the  authority  of  ^lian,  a  writer  of  no  great  credit,  ne- 
verthelefs  that  thefe  anioials  are  fufcepti1)le  of  the  power  of  mufic  is  not  to  be  difputed, 
Plutarch,  in  the  feventh  book  of  his  Sympofiacs,  fays  of  deer  and  hbrfes,  that  they  are  of 
all  irrational  creatures  the  mod  afr'e<Sled  with  harmony.  Playford,  in  the  preface  to  his 
Introdu£l'On  to  Mufic,  fays  the  fame  thing,  and  adds,  *  Myfelf,  as  I  travelled  fome  years 

*  fince  neui  RoyRon,  met  a  herd  of  ftags,  about  20,  upon  the  road,  following  a  bagpipe 
'  and  violin,  which  when  the  mufic   played  they  went    forward,  when   it    ceafed    they 

*  all  ftood  itiil,  and  in  this  manner  they  were  brought  out  of  Yorkfiiire  to  Hampton  Court.' 
And  whoever  will  make  the  experiment,  will  find  it  in  his  power  to  draw  to  him  and  de- 
tain one  of  thefe  creatures  as  long  as  he  pleafes  by  the  found  of  a  violin  or  any  iuftrument 
of  that  kind.     Horfes  are  alfo  delighted  with  the  found  of  mufic. 

*  For  do  but  note  a  ^vild  and  /cvanton  herd, 

*  Or  race  of  youthful  and  unhandled  colts, 

*  Fetching  mad  bounds,  bellowing  and  neighing  loud^ 

*  (Which  is  the  hot  condition  of  their  blood) 

*  if  they  but  hear  perchance  a  trumpet  found, 
'  Or  any  air  of  mufic  touch  their  cars, 

*  You  ihall  perceive  them  make  a  mutual  fland  >  , 

*  Their  favage  eyes  turn'd  to  a  modeflgaze 

*  By  the  fweet  power  of  mufic' 

iiH AKESPEARE,  Merchant  of  Venice,  A3.  V.  Scene  I. 

For  this  fa£l  we  have  alfo  the  authority  of  the  duke  of  Kevvcaftie,  who  afTcrts  it  in  his 
book  of  Horfemanfhip.  Henry  Stephens  alfo  relates  that  he  onje  faw  a  lion  at  London, 
which  would  forfakc  his  food  to  hear  mufic.     Pref.  ad  Herod. 

Elephants  are  likevvife  faid  to  be  extremely  fufceptiblc  of  the  power  of  mufic.  Suetonius 
relates  that  the  emperor  Domitian  had  a  troop  of  elephants  difciplined  to  dance  to  the 
found  of  mufic,  and  that  one  of  them,  who  had  been  beaten  for  not  having  his  leiTon  per- 
fe6t,  was  difcovered  the  night  after  in  a  meadow,  praiSlifing  it  by  himfelf.  In  the  Melan- 
ges of  Vigneul  Marviile,  tom.  III.  is  a  hunaourous  relation  of  the  efiedis  of  mufic  on  a 
number  of  animals  of  different  kinds,  wherein  it  is  faid  that  a  horfe,  a  hind,  a  dog,  and 
fome  little  birds  were  very  much  aflefted  by  it,  but  that  an  afs,  a  cow,  a  cat,  and  a  cock 
and  hen  were  all  infenfible  of  its  charms. 

In  the  Hiftoire  de  la  Mufique,  et  de  fes  Effets,  tom.  I.  pag.  321,  is  the  following  curious 
relation  to  this  purpofe  : 

'  Monfieur  de ,  captain  of  the  regiment  of  Navarre,  was  confined  fix  months  in 

*  piilbn  for  having  fpoken  too  freely  to  Monfieur  de  Louvois,  he  begged  leave  of  the  go- 

*  vernor  to  grant  him  peimiffion  to  fend  for  his  lute  to  fotten  his  confinement.     He  wa5 

*  greatly  aflonifhed  after  four  days  to  fee  at  the  time  of  his  playing  the  mice  come  out  of 

*  their  holes,  and  the  fpiders  defcend  from  their  webs,  whocair.eand  formed  a  u  cle  round 

*  him  to  hear  him  with  attention.     This  at  firftifo  much  furpriled  him,  that  he  ilood  flill 

•  without 


ii8  HISTORY    OF    THE    SCIENCE       Book  I. 

Italy,  two  organ-maliers,  inferior  to  none  in  the  world.   Ibid.  •^74.— » 
Michael  Stifelius,  an  excellent  mathematician  *,  and  Nicolo    Tar- 

*  without  motion,  when  having  ceafed  to  play,  all  thofe  infe£ls  retired  quietly  into  their 

*  lodgings  :  fuch  an  aflenibly  made  the  officer  fall  into  reflexions  upon  v.?hat  the  ancients 
'  have  told  us  of  Orpheus,  Arion,  and  Amphion.     He  affured  me  that  he  remained  fix 

*  days   without  playing,  having   with   difficulty  recovered  from  his  aftonilhment,  not  to 

*  mention  a  natural  avcrfion  he  had  for  thefe  forts  of  infedls,  neverthelefs  he  began  afrefh 

*  to  give  a  concert  to  thefe  animals,  who  feemed  to  come  every  day  in  greater  numbers,  as 

*  if  they  had  invited  others,  fo  that  in  procefs  of  time  he  found  a  hundred  of  them  about 

*  him.     In  order  to  rid  himfelf  of  them,  he  defued  one  of  the  jailors  to  give  him  a  cat, 

*  which  he  fhut  up  fometimes  in  a  cage  when  he  chofe  to  have  this  company,  and  let  her 

*  loofe  when  he  had  a  mind  to  difmifs  them,  making  it  thus  a  kind  of  comedy  that  alle- 
'  viated  his  imprifonment.     I  long  doubted  the  truth  of  this  ftory,  but  it  was  confirmed 

*  to  me  fix  months  ago  by  M.  P ,  intendant  of  the  duchefs  of  V ,  a  man  of  merit 

*  and  probity,  who  played  upon  feveral  inftruments  to  the  utmoft  excellence.     He  told 

*  me  tlr=it  being  at ,  he  went  up  into  his  chamber  to  refreffi  himfelf  after  a  walk,  and 

*  took  up  a  violin  to  amufe  himfelf  till  fupper-time,  fetting  a  light  upon  the  table  before 

*  him  ;  he  had  not  played  a  quarter  of  an  hour  before  he  faw  feveral  fpiders  defcend  from 

*  the  ceiling,  who  came  and  ranged  themfelves  round  about  the  table  to  hear  him  play,  at 

*  which  he  was  greatly  furprifed,  but  this  did  not  interrupt  him,  being  willing  to  fee  the 
'  end  of  fo  lingular  an  occurrence.     They  remained  upon  the  table  very  attentively  until 

*  fomebod y  came  to  tell  him  fupper  was  ready,  when  having  eeafed  to  play,  he  told  me  thefe 

*  infedls  remounted  to  their  webs,  to  which  he  would  fufFer  no  injury  to  be  done.     It  was 

*  a  diverfion  with  which  he  often  entertained  himfelf  out  of  curiofity.' 

The  fame  author  fays  that  he  once  faw,  at  the  fair  of  St.  Germain,  rats  dance  in  cadence 
upon  a  rope  to  the  found  of  inflruments,  ftanding  upright,  each  holding  a  little  counter- 
poife,  in  the  manner  of  rope-dancers.  He  fays  he  alfo  faw  eight  rats  dance  a  figure-dance 
as  truly  as  fo  many  profefied  dancers  -,  and  that  a  white  rat  from  Lapland  danced  a  fara- 
band  juflly,  and  with  all  the  gravity  of  a  Spaniard. 

Plutarch  relates  that  a  certain  barber,  who  kept  a  fiiopinthe  Greek  forum,  had  a  mag- 
pye  that  imitated  the  found  of  mufical  inftruments,  the  cry  of  oxen,  and  could  pronounce 
the  words  of  men  ;  and  that  a  certain  rich  man  paffing  by,  with  trumpeters  in  his  train, 
who,  as  was  ufual,  (topped  there  and  played  for  fome  time  ;  the  bird  from  that  day  became 
mute,  to  the  wonder  of  every  one.  Many  reaforis  were  given  for  his  filence,  but  the 
true  one  \vas  he  was  meditating  to  imitate  the  found  of  the  trumpets,  for  firft  he  was  ob- 
ferved  to  pra6life  filently  and  to  himfelf  the  tune  they  had  played,  at  laft  he  biokeout,  and 
fung  it  lo  truly  and  mclodioully  that  all  were  ailonifhed  who  heard  him. 

Crelius  Khodiginus  relates  that  he  faw  at  Pvome  a  parrot  which  Cardinal  Afcanius  had 
purchafed  for  a  hundred  pieces  of  gold,  that  pronounced  and  clearly  articulated,  without 
hefitation  or  interruption,  the  words  of  the  Apoflle's  Creed. 

And  laftly  Kircher  relates,  that  when  Bafilius  the  emperor  of  the  Eaft,  at  the  perfuafion 
of  Santabarenus,  had  thrown  his  fon  Leo  into  prifon  on  fufpicion  of  his  having  confpired 
againft  him,  the  houfhold  lamented  the  fate  of  Leo,  and  fung  mournful  verfes,  thefe  a  par- 
rot leariied  ;  and  Bafilius  when  he  heard  the  parrot  repeat  them,  and  in  a  melancholy  tone 
pronounce  the  name  of  Leo,  was  fo  affeclcd  that  he  releafed  him,  that  it  might  not  be 
faid  he  was  overcome  by  a  parrot  in  tendernefs  for  his  fon. 

*  Michael  Stifeiius  was  a  German  Lutheran  minifler,  a  man  of  learning,  and  particular- 
ly fkilled  in  the  fcience  of  arithmetic,  by  the  help  whereof  he  undertook  to  predi£l  that 
at  ten  in  the  morning  of  the  third  day  of  06lober,  1533?  the  world  would  be  at  an  end ; 
early  in  the  moining  of  that  day  Stifelius  afcended  a  pulpit,  and  exhorted  his  hearers  to 
make  themfelves  ready,  for  that  the  minute  was  at  hand  in  which  they  were  to  afcend  to 
heaven  with  the  very  cloaths  that  they  had  then  on,  the  hour  pafled,  and  the  people  fi:nd- 

ing 


Chap.  7.       AND    PRACTICE    OF    MUSIC.  ii() 

taglla  of  Brefcia  *,  attempted  an  equal  divifion  of  the  tone,  but  with- 
out fuccefs.  Dimoft.  146. — Adrian  Willaert  perfuaded  Zarlino  to  the 
ftudyofmufic.  Ibid,  12. — The  Chromatids  of  Zarlino's  time  were 
in  his  opinion  the  enemies  of  good  mufic.  Ibid.  215. — Vincenzo  Co- 
lombi,  the  famous  organ-maker,  made  the  author  a  monochord,  dia- 
tonically  divided,  by  femitone  major,  tone  major,  and  tone  minor. 
Ibid.  198. — Bede,  who  wrote  on  mufic,  makes  ufe  of  the  terms 
Concentus  and  Difcantus,  from  whence  it  is  to  be  inferred  that  mufic 
in  parts  was  known  in  his  time.  Soppli.  i^j. — Giofeffi  Guammi  of 
Lucca,  an  excellent  organift  and  compofer.  Ibid.  18. 

The  fourth  and  laft  volume  of  Zarlino's  work  is  on  mifcellaneous 
fubjedts.  It  contains  a  treatife  on  Patience,  a  difcourfe  on  the  origin 
of  the  Capuchin  Friars,  and  an  anfwer  to  feme  doubts  that  had 
arifen  touching  the  corredlion  of  the  Julian  calendar. 

From  the  foregoing  account  of  the  works  of  Zarlino  it  fufficiently 
appears  that  they  are  a  fund  of  mufical  erudition  -,  and  the  eftimation 
in  which  they  are  held  by  men  of  the  greateft  learning  and  fkill  in 
the  fcience  may  be  judged  of  from  the  following  charadler  which 
John  Albert  Bannus  has  given  of  him  and  his  writings.     *  Jofeph 

*  Zarlino  of  Chioggia  was  a  great  mafter  of  the  theory  of  mufic.     Ivi 

*  his  learned    Inftitutions,  Demonftrations,   and   Supplements  pub- 

*  lifhed  in  Italian  at  Venice  1580,  he  has  explained  and  improved  the 

*  fcience  with  much  greater  fuccefs  than  any  other  author.     He  is 

*  fomewhat  prolix,  but  his  learning  amply  compenfates  for  that  fault. 

*  John  Maria  Artufius  Bononienfis  reduced  the  precepts  of  Zarlino 

*  into  a  Compendium,  and  this  again  into  tables.   In  thefe  he  fets  forth 

*  the  fcience  of  mufic  in  a  (hort,  clear,  and  perfpicuous  manner.   There 

*  are  others  who  have  written  on  mufic,  whether  they  equal  Zarlino  or 

*  not  I  do  not  know,  at  leaft  they  do  not  furpafs  him. — So  that  Zar- 

ing  themfelves  deceived,  fell  on  their  paftor,  and  had  he  not  efcaped,  would  probably 
have  killed  him,  however,  by  the  intereft  of  Luther  he  got  reinftated  in  hio  church.  T hua- 
nus  and  other  hiftorians  relatethis  faft  with  all  its  circuaiftances,  andCamerarius  in  liisHif- 
torical  Meditations  has  made  a  very  comical  ftory  of  it ;  the  whole  may  be  ittw  in  Bayle, 
who  has  an  article  for  Stifelius. 

*  Nicolo  Tartaglia  w  as  an  excellent  mathematician  ;  he  tranflated  Euclid  into  the  Ita- 
lian language,  and  wrote  a  treatife  Di  Numero  et  Mifure.     Apoflolo  Zeno  liylcs  him 

*  Un  dottQ  Brefcianc* 

I  *  lino 


120  HISTORY    OF    THE    SCIENCE       Book  I. 

*  lino  alone  will  ferve  inftead  of  all  the  reft :  without  him  the  opi- 
<  nions  of  the  ancients  cannot  be  underftood,  nor  a  perfedl  know- 

*  ledge  of  this  fcience  be  eafily  attained  *.     But  he  does  not  come 

*  up  to  the  perfedion   of  the  modern  mufic.     I  have  commended 

*  Zarlino  above  all  the  reft,  not  becaufe  the  writings  of  other  men 
«  on  this  fubjed:  are  of  no  value,  for  they  contain  many  excellent 
«  and   learned    inftrudions,  but   becaufe  he  is   the    beft  writer  on 

*  this  fubjed,  and  as  many  authors  having  given  but  an  imperfed: 
«  account  of  mufic,  and  this  defedt  muft  be  fupplied  by  great  ftudy, 
«  induftry,  and  various  reading,  I   cannot  recommend   any  one  of 

*  them  to  thofe  who  ftudy  this  art  except  Zarlino.  Befides  few  of 
'  them  have  at  the  fame  time  thoroughly  examined  and  underftood 

*  both  the  theoretical  and  practical  part  of  mufic.   Zarlino  in  my  opinion 

*  has  written  on  this  fubjed  with  more  learning  and  fuccefs  than  all 

*  the  reft  :  and  he  is  almoft  the  only  author  who  has  fucceeded  in  it. 

*  His  Compendium,  as  it  is  drawn  up  by  John  Maria  Artufius  Bono- 
'  nienfis,  is  an  excellent  method,  and  may  be  of  fingular  uie  in  the 

*  pradice  of  mufical  compofition  -f.' 

Artufi  is  by  this  account  of  Bannius  fo  conneded  with  Zarlino,  that 
it  becomes  necefl^ary  to  fpeak  in  this  place  of  him  rather  than  of  Vin- 
centio  Galilei,  the  great  opponent  of  the  latter.  The  Compendium 
above-mentioned  was  publiftied  at  Venice  in  1586,  and  therefore  muft 
have  been  taken  either  from  the  firft  or  fecond  edition  of  the  Iftitutioni. 
It  is  entitled  *  L'Arte  del  Contraponto  ridotta  in  tavole,  dove  breve- 

*  mente  fi  contiene  i  precetti  a  queft*  arte  necefiTarii.'  The  author 
profefi^es  to  follow  the  moderns,  and  particularly  Zarlino,  from  whofe 

*  Notwithftanding  this  encomium  on  Zarlino,  which  at  leaft  implies  that  he  was  well 
{killed  in  the  ancients,  there  have  not  been  wanting  thofe  who  have  afTerted  that  he  never 
red  them.  Bontempi,  fpeaking  of  the  modern  fyllem,  in  which  mofl  of  the  intervals  are 
irrational,  ufes  thefe  words,  *  Egli  none  ne  il  Sintono  antico,  ne  il  Sintono  reformato  da 

*  Tolemeo,  come  infelicemente  foilenta  il  Zarlino,  il  quale,  fenza  Greca  litteratura,  overo 

*  fenza  haver  letio  overo  confiderato  la  dottrina  de'  Greci,  da  reflere  ad  un'  altro  fintono 

*  a  modo  fuo,  non  conftituito  da  padri  della  fclentia  '    Hifl.  Mufic,  pag   188. 

There  can  be  tittle  doubt  but  that  Zarlino  was  acquainted  with  the  Greek  language,  fee- 
ing that  his  writir.gs  abound  with  quotations  from  the  Greek  authors,  but  whether  he  had 
ever  feen  the  Manual  of  Nicomachus,  the  Elements  of  Ariiloxenus,  the  three  books  of  Arif- 
tides  Qu^intllianus  De  Mufica,  or  the  Harmonics  of  Ptolemy,  with  the  Commentaries  of 
Porphyry  and  Manuel  Bryennius  thereon,  may  be  queftioned,  fnice  Salinas,  who  wrote 
after  him,  intimates  that  in  his  time  they  were  extant  only  in  manufcript,  and  that  by  the 
favour  of  the  Cardinal  of  Burgos  he  procured  tranfcripts  of  them  from  the  libraryof  St. 
Mark  at  Venice. 

t  Joan.  Albert!  Banni  Diflertatio  Epiftolica  de  Muficse-Natura.  Lugd.  Bat.  1637,  pag. 

29'  57- 

work 


lOhap.  7-      AND    PRACTICE    OF    MUSIC.  isi 

:  work  above-mentioned  he  has  extra(fted  a  variety  of  excellent  rules. 
Thefe  are  difpofed  in  analytical  order,  and  are  feledled  with  fuch  care 
and  judgment,  that  this  Compendium,  fmali  as  it  is,  for  it  makes 
^but  a  very  thin  folio,  may  be  faid  to  be  one  of  the  books  of  the  great- 
eft  ufe  to  a. practical  compofer  of  any  now  extant. 

In  J  589  Artufi  publifhed  a  fecond  part  of  L'Arte  del  Contraponto, 
intended,  as  the  title-page  declares,  to  explain  the  nature  and  ufc  of 
the  diffonances  j  a  curious  and  valuable  fupplementto  the  former. 

Artufi  was  an  ecclefiaftic,.and  a  canon  regular  inthe  congregation 
Del  Salvatore  at  Bologna  :  a  confiderable  time  after  the  publication  of 
his  book  entitled  L'Arte  del  Contraponto  he  publiftied  a  treatife  Delle 
Imperfettioni  della  moderna  Mufica,  in  two  parts,  with  a  view  to  cor- 
red:fome  abufes  in  mufic  which  had  been  introduced  by  modern  wri- 
ers  and  compofers  ;  he  was  the  author  alfo  of  a  little  trad  in  quarto, 
publiflied  in  1604,  intitled  '  Imprefa  delMolto  R.  M.  GiofcfFoZar- 
-*  lino  daChioggia;'  of  thefe  an  account  will  be  given  hereafter. 

ViNCENTio  Galilei  is  next  to  be  fpoken  of.  He  was  of  Flo- 
rence, and  as  it  feems  a  man  of  rank,  for  in  the  title-page  of  his 
books  he  ftyles  himfelf  *  Nobile  Fiorentino,'  and  the  father,  by  a 
woman  he  never  married,  of  the  famous  Galileo  Galilei  the  mathe- 
matician. He  had  been  a  difciple  of  Zarlino,  and,  by  the  help  of  his 
inftrudions,  joined  with  an  unwearied  application  to  the  ftudy  of  the 
ancients,  became  an  excellent  fpeculative  mufician.  Of  the  in- 
flruments  in  ufe  in  his  time  the  lute  and  the  harpfichord  feemed  to 
have  held  the  preference  ;  the  latter  of  thefe  was  chiefly  the  enter- 
tainment, as  Zarlino  relates,  of  the  ladies*;  the  pradice  of  the 
former  was  cultivated  chiefly  by  the  men.  Galilei  had  an  exquifite 
hand  on  the  lute,  and  his  propenfity  to  that  inftrument  for  very  ob- 
vious reafons  led  him  to  favour  the  Ariftoxenean  principles,  which 
Zarlino  throughout  his  works  labours  to  explode.  Galilei  cenfui-ed 
many  of  the  opinions  of  his  mafter  in  a  trad  intitled  '  Difcorfo  in- 
torno  air  Opere  del  Zarlino,'  which  the  latter  has  taken  notice  of  in 
the  fecond  volume  of  his  works  -,  but  in  1581  he  publillied  a  larger 
work,  intitled  '  Dialogo  della  Mufica  antica  e  moderna,'  written,  as 
the  title-page  exprefl^es  it,  *  in  fua  Difefa  contra  Giufeppe  Zarlino,* 
though  the  publication  of  this  latter  work  was  a  formal  attack  on  Zar- 

*  Dont "calls  the  harpfichord  ClavichorUium  Matronale. 
Vol.  III.  R  lino. 


122  HISTORY    OF    THE    SCIENCE     Book  T. 

lino,  who  Is  treated  by  his  adverfary  with  lefs  refpedt  than  feems  ta 
be  due  from  a  difciple  to  his  mafter  ;  this  Zarlino  feems  to  have  re- 
lented, for  in  the  Sopplimenti  he  takes  notice  of  the  urbanity,  as  he 
calls  it,  of  the  difciple  to  his  preceptor,  as  an  inftance  whereof  he  cites 
ihefe  words  from  the  table  to  Galilei's  Dialogue,  *  GiofefFo  Zarlino 
«  fi  attribiiifce  per  fue  molte  cofe  che  non  fono,*  an  expreffion  not 
eafily  to  be  reconciled  with  the  commendations  which  in  many  parts 
of  this  book  he  affeds  to  beftow  on  Zarlino,  and  his  writings. 

The  divifion  of  the  tetrachord  which  Galilei  contended  for,  was  that 
called  the  fyntonous  or  intenfe  diatonic  of  Ariftoxenus,  which  fup- 
pofes  the  diateffaron  to  contain  precifely  two  tones  and  a  half,  accord- 
in<^  to  the  judgment  of  the  ear.  Ptolemy  has  given  it  the  ratio  o£ 
12,  24,  24,  but  Galilei  failed  in  his  attempt  to  eftablifli  it;  and  the  _ 
fyntonous  or  intenfe  diatonic  of  Ptolemy  is,  as  it  is  faid,  the  only  divi- 
fion which  the  moderns  have  received  into  practice  *. 

Galilei  was  alfo  the  author  of  a  book  intitled  *  11  Fronimo,  Dialogo 
«  fopra  I'Arte  del  ben  intavolare  e  rettamente  fuonare  la  Mufica.    In 
*  Venezia,  1583  ;'  the  defign  whereof  is  to  explain  that  kind  of  mu- 
lical  notation  pra6Vifed  by  the  compofers  for  the  lute  called  the  Tabh- 
tore  +.     The  Dialogo  della  Mufica,  notwithftanding  the  objedions^ 
it  is  open  to,  is  replete  with  curious  learning,  and  feems  to  have  beerii 
the  effed  of  deep   refearch  into  the  writings  of  antiquity.     Among 
other  particulars  contained  in  it  are  thefe..     The  Battuta,  or  beating 
of  time,  was  not  pradifed  by  the  ancients,  but  was  introduced  by  the- 
Monks  for  the  regulation  of  the  choir,   loi. — The  monochord  was. 
invented  by  tl:ic  Arabians,   133. — Diodes,  and  not.  Pythagoras,  in 

*  This  is  the  fentiment  of  Br.  Wallis,  as  delivered  by  tiim  in  the  Appendix  to  his  edi- 
tion of  Ptolemy,  and  is  confirmed  by  Dr.  Pepufch  in  his  letter  to  .Mr.  de  Moivre,  publifh- 
ed  in  the  Philofophical  Tranfadions  for  the  year  1746  ;  neverthelefs  it  is  faid  that  fince 
the  invention  of  a  temperament  the  ancient  diftindiions  of  ditonic  diatonic,  intenfe  diato- 
nic, &c.  1-K>ve  juftly  been  laid  afide.  Vide  Harmonics  by  Dr.  P^obert  Smith,  2d  edit, 
pog.  27,  this  is  the  more  likely  to  be  true,  as  the  tuners  of  inftruments  meafure  their  in» 
tervals  by  the  ear,  and  are  therefore  faid  by  Merfennus  to  be  Ariftoxeneans  in  practice. 

t  TheTABLATUR£  is  a  method  of  notation  adapted  to  the  lute,  and  other  inftru- 
ments of  the  lik'i  kind,  in  which  the  chords  are  reprefented  by  a  correfpcnding  num- 
ber of  lines,  and  on  thefe  are  marked  the  letters  a,  b,  c,  &c.  which  letters  refer  to  the 
frets  on  the  neck  of  the  inftrument.  The  time  of  the  notes  is  Cgnified  by  marks  over  the 
letters  of  a  hooked  form,  that  anfwer  to  the  minim,  crotchet,  quaver,  &c.  this  is  the 
French  tablature,  but  the  Italians,  and  alfo  the  Spaniards,  till  of  late  years  made  ufe  of 
figures  inftead  of  letters.  Galilei's  Dialogue  teaches  the  tablature  by  figures,  the  other 
jnnhod  is  explained  in  a  book  written  by  Adrian  leRoy  of  Paris  in,  1578,  the  firft  of  the 
kind  ever  publifhed,  of  which  a  full  account  will  hereafter  be  given. 

tha 


Chap.  8.       AND    PRACTICE    OF    MUSIC.  123 

the  opinion  of  fome,  firft  difcovered  the  mufical  proportions  by  the 
the  found  of  an  earthen  velTel,  127. — Glareanus  did  not  underftand 
the  modes  of  the  ancient  Greeks,  72. — Marcianus  Capella,  fo  far  as 
relates  to  the  modes,  was  an  Ariftoxenean,  56. — The  mufic  of  the 
moderns  is  defpifed  by  the  learned,  and  approved  of  only  by  the  vul- 
gar, S3. — The  Romans  derived  their  knowledge  of  mufic  from  the 
Greeks,  1 . — At  the  clofe  of  this  vi^ork  he  gives  a  probable  account  of 
the  inventors  of  many  of  the  inflruments  now^  in  ufe,  of  v^'hich  no- 
tice has  herein  before  been  taken.  Speaking  of  the  lute,  he  mentions 
a  fadl  which  an  Englifli  reader  will  be  glad  to  know,  namely,  that  in 
his  time  the  heft  were  made  in  England.  The  ftyle  of  Galilei  is  clear 
and  nervous,  but  negligent.  Nice  judges  fay  it  is  in  fome  instances 
ungrammatical,  neverthelefs,  to  fpeak  of  his  Dialogue  on  ancient 
and  modern  mufic,  it  abounds  with  inftrudion,  and  is  in  fliort  an  en- 
tertaining and  valuable  vvork. 


CHAP.  VIII. 

FRANCISCUS  SALINAS  flouridied  about  the  middle  of  the 
fixteenth  century  ;  he  was  a  native  of  Burgos  in  Spain,  and  the 
fon  of  the  queftor  or  treafurer  of  that  city  ;  and  though  he  laboured 
under  the  misfortune  of  incurable  blindnefs,  compofed  one  of  the 
moft  valuable  books  on  mufic  now  extant  in  any  language.  His 
hiftory  is  contained  in  the  preface  to  his  work  publiflied  at  Salaman- 
ca in  1577,  and  is  fo  very  curious^  that  it  would  be  doing  an  injury 
to  his  memory  to  abridge  it. 

*  From  my  very  infancy  I  devoted  myfelf  to  the  fludy  of  mufic  j 

<  for  as  I  had  fucked  in  blindnefs  from  the  infeded  milk  of  my  nurfe, 
■*  and  there  remaining  not  the  leaft  hope  that  I  (hould  ever  recover 

*  my  fight,  my  parents  could  think  of  no  employment  fo  proper  for 

*  me  as  that  which  was  now  fuitable  to  my  fituation,  as  the  learning 

<  necefi^ary  for  it  might  be  acquired  by  the  fenfe  of  hearing,  that  other 

*  befl  fervant  of  a  foul  endued  with  reafon. 

•  I  employed  almofl  my  whole  time  in  finging  and  playing  on  the 

*  organ,  and  how  much  I  fucceeded  therein  I  leave  to  the  judgment 
«  of  others;  but  this  I  dare  affirm,  that  he  who  would  perfedly  un- 

R  2  derfland 


124.  HISTORY    OF   THE    SCIENCE      BookL 

derfland  the  dodrlne  of  Arifloxcnus,  Ptolemy,  and  Boeti-js,  and' 
other  famous  muficians,  (hould  he  long  and  much  pradifed  in  this 
part  of  mufic,  fmce  every  one  of  thofe  has  written  concerning  the 
firft  part  of  mufic  which  is  called  Harmonics,  and  belongs  to  the 
compofition  of  inftrnmental  harmony  ;  and  a  man  who  is  verfed  in  . 
the  mufical  inftruments  which  we  make  ufe  of,  will  be  able  to  judge 
more  readily  and  perfectly  of  thofe  things.    But  left  I  (liould  feem  to 
fay  more  of  the  ftudies  of  other  men  than  of  my  own,  be  it  known 
that  while  I  was  yet  a  boy   there  came   into  our  country  a  young- 
woman  born  of  honeft  parents,  and  famous  for  her  knowledge  of  the 
Latin  language,  who,  as  (he  was  about  to  become  a  nun,  had  a  vehe- 
ment defire  of  learning  to  play  on  the  organ,  wherefore  flie  became  a 
fojourner  in  my  father's  houfe,  and  was  taught  mufic  by  me,  and  fhe 
itt  return  taught  me  Latin,  which   perhaps  I  fhould  never  have 
learned  from  any  other,  becaufe   either  that   never  came  into  my 
father's  head,  or  becaufe  the  generality  of  practical  muficians  per- 
fuaded  him  that  letters  would  prevent  or  interrupt  my  learning  of 
mufic  ;  but  I  growing  more  eager  for  inftru6lipn  from  this  little 
of  learning  that  I  had  now  got,  prevailed   on   my  parents  to  fend 
me  to  Salamanca,  where  for  fome  years  I  apphed  myfelf  clofely  to 
the  ftudy  of  the  Greek  language,  as  alfo  to  phrlofophy  and  the  arts, 
but  the  narrownefs  of  my  circumftances  obliging  me  to  leave  that 
univerfny,  I   went  to  the  king's  palace,  where  I  was  very  kindly, 
received  by  Petrus  Sarmentus,  :archbifliop  of  Con^poftella ;  and  a& 
he  was  afterwards  taken  into  the  number  of  cardinals,  I  went  with 
him  to  Rome,  more  for  the  fake  of  learning  than  of  enriching  myfelf,. 
where  converfing  with  learned  men,  of  whom  there  is  always  a 
great  number  there,  I  began  to  be  afliamed  of  my  ignorance  in  th& 
art  which  I  profelTed,  not  being  able  to  give  any  reafon  for  thofe 
things  I  fpoke  of;  and  I  at  length  perceived  this  faying  of  Vitru^ 
vius  to  be  very  true,  and  that  it  might  be  applied  as  well  to  mufic 
as   architedure,  viz.   **  Thofe  who   labour  without   learning,  let 
'   them    be  ever  fo    well    verfed    in   the   pradlice,    can    never   gain- 
'   any  credit  from  their  labours  j   and  thofe  who  place  their  Vv-hole 
«  dependance  on  reafoning  and  learning  alone,  feem  to  pucfue  the 
^  fliadow  and  not  the  thing  ;  but  thofe  who  are  mafters  of  both,  like 
'  men  armed  from  head  to  foot,  attain  their  ends  with  greater  fa- 
*  cility  and  reputation."     Wherefore  when  I  found  from  Ariftole 

*  that 


Chap.8.     AND    PRACTICE    OF    MUSIC.  125 

•  that  the  ratios  of  numbers  were  the  exemplary  caufes  ofconfonants 

•  and  harmonical  intervals,  and  perceiving  that  neither  all   the  con- 

•  fonants  nor  the  lefTer  intervals  v^ere  conftituted  according  to  their 

•  lawful  ratio,  I  endeavoured  to  inveftigate  the  truth  by   the  judg- 

•  ment  both  of  reafon  and  the  fenfes,  in  which  purfuit  I  was  greatly 

•  afljfted,  not  only  by  Boetlus,  whom   every  mufician    has    in    his 

•  mouth,  but  by  feveral  manufcript  books  of  the  ancient  Greeks  not 

•  yet  tranflated  into  Latin,  great  plenty  whereof  I  found  there,  but 

•  above  all,  three  books  of  Claudius  Ptolemseus  (to  whom  whether 

•  mufic  or  aftronomy  be  mod  indebted  I  cannot  fay)  on  harmonics, 

•  from  the  Vatican  library,  and  of  Porphyrius's  Comments  thereon, 

•  conftruded  of  great  and  valuable  things  colleded  from  the  reading 
«  of  the  ancients,  which  were  procured  for  me  by  Cardinal  Carpen- 

•  fis  J  alfo  two  books  of  Arifloxenus  De  Harmonicis  Elementis,  and 

•  alfo  two  books  of  Nicomachus,  whom  Boetius  has  followed,  one 
«  book  of  Bacchius,  and  three  books  of  Ariftides,  likewife  three  of 
'  Bryennius,  which  the  Cardinal  of  Burgos  caufed  to  be  tranfcribed  at 

•  Venice  from   the  library  of  St.  Mark;   fo  that   being  made  more 

•  learned  by  what  they  had  well  and  truly  faid,  and   more  cautious 

•  by  what  was  otherwife,  I  was  able  to  attain  to  an  exad  knowledge 

•  of  this  art,  in  the  fearch  and  examination  whereof  I  fpent  upwards 

•  of  thirty  years,   till  at  length,  opprefTed  by  many  misfortunes,  more 

•  efpecially  by  the  death  of  the  two  cardinals  and  the  vice-roy  of  Na- 

•  pies,  who  all  loved  me  more  than  they  enriched  me,  and  by  the 

•  lofs  of  three  brothers,  who  were  all  flain,   I  determined  to  return 

•  fo  Spain,  content  with   what  little  I  had,  which  might  ferve  to 

•  fupply  m,e  with  a  very  llender  maintenance  ;  and  I  alfo  propofed  to 

•  fpend  the  fmall  remainder  of  my  life  within  my  own  walls  in  an 

•  honed  poverty,  and  fmg  only  to  myfelf  and  the  Mufes  : 

*  Nam  nee  divitibus  contlngunt  gaudia  foils, 

*  Nee  vixit  male,  qui  natus  morienfque  fcfclllt. 

•  But  I  iniaglne  it  feemed  good  to  the  greatcfl  and  bed  God  that  it 

•  fljould  be  otherwife,  for  he  recalled  me  into  Spain  from  Italy, 
'  where  I  had  lived  almofl  twenty  years,   not  altogether  in  obi'curity* 

•  and  of  all  the  other  towns  in  Spain  in  which  I  might  have  pracllifcd 

•  the  tnufical  art  with  fufiicient  premiums,  permitted  me  at  length  to 

•  retura 


126  HISTORY    OF    THE    SCIENCE      Book  I. 

*  return  to  Salamanca,  after  an  abfence  of  altnoft  thirty  years  from 

*  the  time  I   liad  left  it,   v/herc  a  ilipend  fufficiently  liberal  was  ap- 

*  pointed  for  a  profefTor  of  mufic  capable  of  giving  inftrudions  both 

*  in  the  theory  and  pradice.     For  Alphonfus  king  of  Caftile,   the 

*  tenth   of  that  name,  and  furnanied   the  Wife,  who  founded  and 

*  endowed   this    profeiroriliip,  knew  that  the  fcience  of  mufic,   no 
'  lefs    than    the    other    mathematical    arts,    in    which    he    greatly 

*  excelled,  ought  to  be  taught  -,   and  that  not  only  the  pradical  but 

*  the  fpeculative  part  was  necellary  for  a  mufician.     Wherefore  he 

*  ereded  that  fchool  among  the  firft  and  mofi:  ancient,  and  as  a  teacher 

*  was  at  that  time  wanted,  and  one  was  fought  after  who  was  capable 

*  of  teaching  both  parts  of  mufic  well,  I  came  to  Salamanca,  that  I 

*  might  hear  the  profefTors  of  this  art  make  their  trials  of  fkill  there  j 

*  but  when  1  had  exhibited  a  fpecimen  of  my  ftudics  in  mufic,  I  was 

<  adjudged  qualified   for  that  employment,  and  obtained  the  chair, 

*  which  was  thereupon  endowed  with  near  double  the  ufual  ftipend 

*  by  the  approbation  of  his  majefly.    Perhaps  I  have  faid  more  than  is 

<  neceflary  concerning  myfelf,  but   I   mention  thefe   things   that  I 
«  might  not  be  thought  to  attempt  fo  great  a  work   deftitute  of  all 

*  affi dance.' 

To  thefe  particulars  which  Salinas  has  related  of  himfelf  and  his 
fortunes,  the  following,  grounded  on  the  teftimony  of  others,  may 
be  added,  viz.  that  being  an  admirable  performer  on  the  organ  and 
other  inftruments,  was  in  great  eil:eem  among  perfons  of  rank,  and 
particularly  with  Paul  IV.  then  pope,  by  whofe  favour  he  was 
created  Abbat  of  St.  Pancratio  della  Rocca  Salegna,  in  the  kingdom 
of  Naples.  Thuanus  relates  that  he  died  in  the  month  of  February, 
J  590,  being  feventy-feven  years  of  age.  Johannes  Scribanius,  a 
profefiTor  of  the  Greek  language,  his  contemporary,  wrote  the  fol- 
lowing verfes  in  praife  of  him  : 

Tirefiae  quondam  caeco  penfaverat  audor 

Natura?  damnum  munere  fatidico. 
Luminis  amifli  jaduram  caecus  Homerus 

Pignore  divini  fuftinet  ingenii. 
Democritus  vifu  cernens  languefcere  mentis 

Vires,  tunc  oculos  eruit  ipfe  fibi. 

His 


Chap.8.     AND    PRACTICE    OF   MUSIC.  127 

His  ita  dum  dofta?  mentis  conftaret  acumen,. 

Corporis  acquanimi  damna  tulere  fui. 
Unus  at  hie  magnus  pro  multis  ecce  Salinas 

Orbatus  vifu,  preftat  utrumque  fimul. 

The  treatife  De  Mufica  of  Salinas  is  divided  into  feverr  books ;  in 
the  firflhe  treats  of  proportion  and  proportionality,  between  which  two 
terms  he  diflinguifhes,  making  Proportion  to  fignify  the  ratio  between 
two  magnitudes,  and  Proportionality  a  certain  analogy,  habitude,  or 
relation  between  proportions  themfelves.  He  fays  that  as  proportion 
cannot  be  found  in  fewer  than  tv/o  numbers,  fo  proportionality  muft 
confift  at  lead  of  two  proportions  and  three  numbers,  whofe  mean 
divides  them  agreeable  to  the  nature  of  the  proportionality.  He  fays 
that  in  the  time  of  Boetius  no  fewer  than  ten  different  kinds  of  pro- 
portionality were  known  and  pradtifed  by  the  arithmeticians,  but  that 
all  that  are  neceffary  in  the  fpeculative  part  of  mufic  are  thofe  three  in- 
vented by  Pythagoras,  and  mentioned  by  Ariflotle  and  Plato,  namely, 
arithmetical,  geometrical,  and  harmonical,  concerning  which  feve- 
rally  he  thus  fpeaks. 

*  We  call  that  an  Arithmetical  mean  which  is  feparated  from  ei- 

*  ther  extreme   by  equal  differences   and    unequal  proportions ;   by 

*  Differences  we  mean  the  quantities  of  the  exceffes  which  are  ref- 

*  pedlively  found  between  the  numbers  themfelves,   as  in  the  pro- 

*  porfion  of  8  to  4 ;  we  fay  that  6  is  an  arithmetical  mean  becaufe 

*  it  is  diftant  from  each  term  by  an  equal  difference,   which  is   the 

*  number  2,   but  the    proportions  between   the   mean   and   the  ex- 

*  treme  terms  are   unequal,  for   6   to  4   makes   a  fefquialtera,  and. 

*  8   to  6  a  fefquitertia,  as  plainly  appears  in  thefe  numbers  4.  6.  8. 

*  in  which  the  difference  is  the  fame  between  6  and  4  as  between  6 

*  and  8,  for  each  is  equal  to  2,  whereas  the  proportions  are  unequal, 

*  as  we  have  faid.     What  is  to  be  chiefly  confidered  in  this  kind  of 

*  proportionality  by  the  mufician  is,  that  in  it  the  greater  propor- 
«  tions  are  found  to  be  placed  in  the  fmaller  numbers,  and  the  leffer 
«  in  the  greater,  as  in  thi?  duple,  4  to  2,   which  when  divided  by  the 

*  arithmetical    mean  3,  gives   the   fefquialtera   and   fefquitertia,   the 

*  greater  of  which  proportions,  the  fefquialtera,  is  found  in  the  Icf- 
^  fcr  numbers  3  to  2,  and  the  leffer,   the   fefquitertia,  in  the  greater 

*  numbers  4  to  3,  as  thefe  numbers  fhew,  2,  3,  4.     But  the  readicfi: 

•'  methodi 


128  HISTORY   OF  THE   SCIENCE      Book  I. 

method  of  finding  an  arithmetical  mean  Is  by  adding  the  two  ex- 
tremes together,  and  the  half  of  their  fum  when  taken  will  be  the 
mean  required  ;  as  in  this  fame  duple  4  to  2,  the  fum  of  whofe 
terms  is  6,  and  the:  half  thereof  3,  is  the  arithmetical  mean  be- 
tween them.  It  is  to  be  obferved  that  if  the  number  arifing  from 
the  fum  of  the  two  extremes  be  uneven  (which  is  the  cafe  when 
one  is  even  and  the  other  uneven)  and  confequently  the  half  there- 
of cannot  be  had,  you  mull:  double  the  extremes,  and  then  their 
fum  will  be  an  even  number,  and  its  half  may  be  found  ;  thus  be- 
tween 3  and  2,  becaufe  their  fum  5,  is  an  uneven  number  no 
arithmetical  mean  can  be  found  in  whole  numbers,  for  they 
are  diftant  from  each  other  only  by  unity,  which  is  indivifible, 
v/herefore  they  mufl:  be  doubled,  to  have  6  and  4,  which  being 
added  together  make  10,  and  the  half  thereof  5  will  be  the  mean 
between  them,  and  this  is  fufficient  for  the  explanation  of  arithme- 
tical proportionality. 

*  Geometrical  proportionality  is  that  in  which  the  mean  is  diftant 
from  each  extreme  by  equal  proportions  and  unequal  differences, 
as  in  the  proportion  4  to  1,  the  geometrical  mean  will  be  2,  which 
is  the  duple  of  i,  as  4  is  of  2,  but  the  differences  are  unequal, 
becaufe  2  is  diftant  from  i  by  unity,  and  from  4  by  2,  as  thefe 
numbers  fhew. 


Difference 
2            I 

Ii    4       2        I 

Duple     Duple 

Quadruple 

Geometrical  divifion 
of  the  quadruple. 


*  This  kind  of  mediation  Is  not  fo  often  to  be  found  as  either  of  the 
others,  becaufe  it  can  only  be  had  in  thofe  numbers  that  are  com- 
pounded of  two  equal  ones,  as  the  quadruple,  the  fum  whereof 
is  two  duples,  as  is  ftjewn  in  the  above  type,  and  the  nonuple  or 
ninefold,  which  confifts  of  two  triples,  as  i.  3.  9,  and  in  thefe, 
9.  4.  which  include  two  fefquialteras,  as  appears  in  thefe  numbers, 
4.  6.  9.  and  in  thefe  numbers,  25.  9,  which  contain  2  fuper- 
bipa.rtient  3,  as  thefe  numbers  iliew,  9,  15.  25;'  and  thus 
-  6  *  examples 


Chap.  8.       AND    PRACTICE    OF    MUSIC.  129 

examples  are  frequently  to  be  met  with  in  all  kinds  of  proportions 
except  in  fuch  as  are  fuperparticular,for  a  fupcrparticular  proportion 
cannot  be  divided  into  two  equal  proportions  in  a  certain  determined 
number.  This  proportionality  has  this  peculiar  to  it,  that  what 
in  it  is  called  the  geometrical  diviforor  the  mean,  being  multiplied 
into  itfelf,  will  give  the  fame  product  as  arifes  from  the  multiplica- 
tion of  the  two  extremes  into  each  other,  as  in  this  proportion,  9  to 
4,  whofc  geometrical  mean  is  6,  that  number  bearing  the  fame  pro- 
portion to  4  as  to  9,  each  being  a  fefquialtera  to  the  mean  6,  with  un- 
equal differences,  for  6  is  diftant  from  4  by  2,  and  from  9  by  3.  I  fay 
that  6  multiplied  into  itfelf  will  yield  the  fame  produ(S  36  as  is  made 
by  the  multiplication  of  9  into  4  ;  wherefore  there  is  no  readier  me- 
thod of  finding  out  a  geometrical  mean  than  to  multiply  into  each. 
other  the  two  numbers  of  fuch  a  proportion  as  we  propofe  to  divide 
geometrically,  and  then  to  find  out  fome  intermediate  number, 
which  being  multiplied  into  itfelf,  will  produce  the  fame  fum  as 
they  did  :  thus  if  we  would  divide  geometrically  the  propor- 
tion 16  to  9,  we  (hall  find  the  produd:  of  thefe  two  multiplied 
into  each  other  to  be  144,  and  as  there  cannot  be  any  other 
number  than  12  found,  which  being  multiplied  into  itfelf  will  make 
that  fum,  that  will  be  the  geometrical  divifor  required,  for  it  bears 
the  fame  proportion  to  9  as  it  does  to  16,  that  is  a  fefquitertia. 
Thefe  things  are  efteerhed  requifite  for  muficians  to  confider,  and 
I  {hall  now  only  advertife  the  reader,  that  the  numbers  which  exprefs 
in  the  loweft  terms  any  proportion  that  may  be  divided  geometrically 
will  be  fquares,  for  if  the  number  can  be  divided  into  equal  pro- 
portions, as  the  geometrical  proportionality  requires,  it  muft  neceffa- 
rily  be  alfo  compounded  of  two  equal  proportions,  which  compofi- 
tion  we  have  in  another  place  called  Doubling :  now  the  doubling  of 
any  proportion  is  made  by  the  fquaring  of  the  two  numbers  under 
which  it  was  comprehended  when  fingle,  wherefore  thofe  numbers 
in  which  the  proportion  is  found  to  be  doubled  muft  be  fquares. 
*  It  now  remains  to  fpeak  of  Harmonical  Proportionality,  which 
feems  to  have  been  fo  called  as  being  adapted  to  harmony,  for 
confonants  are  by  muficians  called  harmonies,  and  anfwer  to  pro- 
portions divided  by  an  harmonical  mediation.  The  harmonical 
proportionality  is  that  in  which  the  mean,  when  compared  to  the 
extremes,  oblerves  neither  the  equality  of  differences  as  in  the  arith- 
VoL,  III,  S  *  metical 


130  HISTORY    OF    THE    SCIENCE      Bookl. 

*  metical  mean,  nor  that  of  proportions,  as  the  geometrical  proportion- 

*  alitydoes,butisoffucha  nature,  that  whatfoever proportion  thegreat- 

*  er  extreme  bears  to  the  lefler,  the  fame  will  the  excefs  of  the  greater 

*  extreme  above  the  mean  bear  to  the  excefs  of  the  mean  above  the  lef- 
'  fer  extreme,  as  in  this  proportion,  6  to  3,  in  which  the  harmo- 
«  nic  mean  is  4,  for  the  difference  between  6  and  4,  which  is   2", 

*  bears  the  fame  proportion  to  the  difference  between  4  and  3,  that 

*  is  unity,  as  is  found  from  6  to  3,  for  they  are  each  duple,  as  ap^ 

*  pears  in  thefe  numbers : 


Duple 


I  Differences  of  the  mean  and  extremes 
n       ?Harnionical  divifion  of  the  duple 


Sefquialtera|Sefquitertia 


Duple 


*■  Plato  in  Tlmaeus  feems  to  have  exprefTed  this  much  more  con- 
*=  cifely  and  elegantly  when  he  fays  the  harmonic  mean  exceeds  one 
*■  extreme,  and  is  alfo  exceeded  by  the  other  by  the  fame  parts  of 
"  thofe  extremes    refpedively,  as  8   between   6   and    12,  for  8    ex- 

*  ceeds    6    by  the   third  part  of  6,  and  is  exceeded  by   12  by  the 

*  third  part  of  12.     It  is  to  be  obferved  that  the  harmonical  propor- 

*  tionality  is  nothing  elfe  than  the  arithmetical  inverted,  for  it  is  found 
*'  to  be  divided  into  the  fame  proportions,  excepting  that  the  greater 
*'  proportions  are  found  in  the  arithmetical  divifion  between  the  lefTer 

*  numbers,  but  in  the  harmonical  they  are  transferred  to  the  greater 

*  numbers,  while  the   lefTer  proportions  (as  mufl  be  the  cafe)  are. 

*  found  in   the  lefTer  numbers,  and  if  pofTible  remain  in  the  fame 

*  numbers  in  which  they  were  before,  as  in  this  duple  arithmetically 

*  divided,  2,  3,  4,  which  if  we  would  have  mediated  harmonically,. 

*  the  fefquialtera  proportion,  which  is  between  3  and  2^  mufl  be  trans- 
*'  ferred  to  greater  numbers  ;  and  in  order  to  leave  the  fefquitertia  in- 

*  the  fame  as  they  were  in,  viz.  4  to  3,  we  muft  try  whether  4  has 
«  a  fefquialtera  above  it,  which  it  will  confequently  have  if  it  is  en- 
«  creafed  by  its  half  2,  to  produce  the  number  6,  which  is  fefquiaN 

*  tera  to  4,  and  the  fefquitertia  from  4  to  3  will  be  left  as  it  was  be- 

*  fore  5.  and  thus  the  greater,  proportion  is^  in  the  greater  numbers,, 

*"■  andi 


Chap.  8.      AND    PRACTICE    OF    MUSIC.  131 

•  and  the  lefTer  in  the  lefTer,  according  to  the  property  of  harmoni- 

*  cal  proportionality,  which  thefe  numbers  (hew  : 


Harmonical  Proportionality 


Arithmetical    Proportionality 


SefquialteralSefquitertialSefquialtera 


Duple 


1 


Duple 


•  It  now  remains  carefully  to  inveftigate  the  method  of  obtaining 

*  the  harmonical  mean,  which  will  be  eafily  found  out  if  the  arith- 

*  metical  mean  be  firft  had,  for  where  an  arithmetical  mean  cannot 

*  be  found,  there  alfo  an  harmonical  mean  cannot  be  had,  fince  the 

*  harmonical  proportionality,  as  we  have  faid,  is  the  arithmetical  in- 

*  verted.  Having  therefore,  according  to  the  method  fhewn  above, 
«  found  out  the  arithmetical  mean,  we  mufl:  next  enquire  whether 
«  that  has  a  number  above  it  in  the  fame  proportion  to  it  as  fubfifted 

*  between  the  numbers  divided  by  the  arithmetical  mean,  and  if  it 

*  has  fuch  a  one,  then  that  will  be  the  mean  which  will  divide  the 

*  proportion  harmonically,  in  which  proportion  that  number  which 

*  was  the  mean  in  the  arithmetical  proportionality  will  be  the  leaft 

*  extreme  in  the  harmonical,  and   that  which  was  the  greatell:  ex- 

*  treme    in  the  arithmetical,    will    be    the    harmonical  mean,  and 

*  the   aflumed  number  will  be  the  greatefl   extreme ;   thus   if  we 

*  would  harmonically   divide    this    triple,     3  to   i,    we   muft  firft 

*  find  its  arithmetical  mean,  which  is  2,  and  then   take  the   triple 

*  thereof,  which  is  6,  and  fo  the  proportion  which  was  arithmetically 

*  divided  from  3  to  i,  will  be  harmonically  divided  from  6  to  2  ; 
■*  and  3,  which  was  the  greatefl  extreme  in  the  arithmetical,  will  be 

*  the  mean  in  the  harmonical,  and  2,  which  was  the  arithmetical 

*  mean,  will  be  the  leiTer  extreme,  and  6,  the  number  aflumed  will 

*  be  the  greater,  as  may  be  perceived  in  thefe  numbers  : 


S  2 


Triple 


132 


HISTORY   OF    THE    SCIENCE      Bcx)k  L 


Triple  arithmetically  divided 


LeiTer 
extreme 


Arithme- 
tical mean 


Greater 
extreme 


LeiTer 
extreme 


Harmoni- 

cal  mean 


Greater 
extreme 


Triple  harmonically  divided 


*  But  if  no  number  can  be  found  to  bear  the  fame  proportion  to- 
the  arithmetical  mean  as  fubfifted  between  thefe  which  it  divided, 
the  numbers  muft  be  doubled  or  tripled  till  fuch  an  one  can  be 
found  ',  this  however  is  not  to  be  done  raflily,  but  by  fome  certain 
rule,  for  in  multiples  they  are  almoft  always  found  as  in  the  duple- 
and  triple  fhewn  before,  and  in  the  quadruple  and  quintuple  in 
thefe  numbers : 


I 


8 


8 


I 


20 


Quadruple  to  be  divided^ 
Quadruple  arithme- 
tically divided 
Quadruple  harmo- 
nieally  divided. 


Quintuple  arithmetically 
divided 


3  5  ^        ^5 

Quintuple  harmonically 

divided 


'  And  examples  of  this  kind  are  every  where  to  be  met  with  in-' 
almcft  all  multiples.  But  in  fuperparticulars  we  muft  proceed  bw 
much  more  certain  and  conftant  rules  y  for  as  in  finding  an  arith- 
metical mean  in  every  fuperparticular  proportion  the  numbers  mufll 
be  doubled,  fo  in  finding  an  harmonical  mean  they  muft  in  the  {q{^ 
quialtera  be  doubled,  in  the  fefquitertia  tripled,  in  the  fefquiquarta. 
quadrupled,  and  if  this  order  be  obferved,  the  harmonical  mean- 
may  be  eafilv  found  in  all  fuperparticulars,  as  is  manifeft  in  thefe. 
three  examples. 


EX- 


Chap.  8.     AND    PRACTICE    OF    MUSIC.  133 

EXAMPLE     I. 

**  2.       .     3.  Sefquialtera  to  be  divided. 

*  4.     5.     6.  Sefquialtera  divided  arithmetically. 

*  8.  10.  12.  The  Numbers  of  the  arithmetical  proportionality 
*  doubled. 

*.  10.  12.  15.  Sefquialtera  harmonically  divided, 

EXAMPLE     n. 

*■  3..  4.  Sefquitertia  to  be  divided. 

*  6.    7.    8.  Arithmetically  divided. 
•^  18.  21.  24.  Numbers  tripled. 

*  21.24.28.  Harmonically  divided. 

EXAMPLE    in. 

*  4.  5.  Sefquiquarta  to  be  divided. 

*  8.    9.     10.  Arithmetically  divided. 
**  32.  36.    40.  Numbers  quadrupled. 

«        36.    40.45,  Harmonically  divided.* 

Speaking  of  the  Diapafon,  Salinas  fays  though  it  confifts  of"  eight 
founds,  it  did  not  take  its  name  from  the  number  8,  as  the  diapente 
does  from  5,  and  the  diatefTaron  from  4,  but  it  is  called  diapafon,  a 
word  fignifying  per  omnes  or  ex  omnibus,  that  is  to  fay  by  all  or  from 
all  the  founds,  as  Martianus  Capella  aflerts,  and  this  with  very  good 
reafon,  for  the  diapafon  contains  in  it  all  the  poffible  diverfities  of 
found,  every  other  found  above  or  below  the  feptenary,  being  but 
the  replicate  of  fome  one  included  in  it  *. 

*  The  Unlfon,  though  in  a  fenfe  fomewhat  diiferent  from  that  of  Martianus  Capella  in 
the  above  paflage,  may  alfo  be  faid  to  contain  in  it,  if  not  all  the  founds,  at  leaft  all  the 
confonances  in  the  feptenary,  together  with  their  replicates.  To  explain  this  matter,  it  is 
necclTary  to  obferve  that  Ariftotie  in  Prob.  XVIII.  of  his  19th  Sec*,  puts  this  queftion,, 
Why  do  the  graver  founds  include  the  acuter  ?  and  Merfennus,  who  has  taken  upon  him 
the  folution  of  it,  in  the  courfe  of  his  inveftigation  aflerts  from  experiments  made  by  him- 
felf,  that  a  chord  being  liruck  when  open,  gives  no  fewer  than  five  different  founds,  namely 
the  unifon,  i2.th,  15th,  and  greater  17th,  and,  to  a  very  nice  ear,  the  greater  20th. 
Harmonic.  De  Inftrum.  Harm.  lib.  I.  prop,  xxxiii.    Harm.  Univerf.  lib.  IV.  pag.  209. 

TheOfcillation  of  chords  is  a  fubjedlof  very  curious  fpeculation,  and  the  above  is  a  won- 
derful phenomenon  ;  but  neither  Merfennus,  nor  even  Ariftotie  himfelf,  feem  to  have 
been  acquainted  with  another  not  lefs  fo,  namely,  that  which  proves  that  the  vibrations  of 
cliords  are  communicated  at  a  diitance  to  other  chords  tuned  in  confonance  with  themfelves. 

An  account  of  this  difcovery  communicated  by  Dr.  Wallis  to  the  Royal  Society  may  be. 
ften  in  Lowthorp's  Abridgment,  vol.  I.  chap.  x.  pag.  606,  and  is  to  this  efFe£l,  Let. 
a  chord  A  C  be  an  upper  octave  '.o  another  ag.  and  therefore  an  unifon  to  each 
half  of  it  Hopped  at  b.  If  while  a  g  is  open  A-C  be  flruck,  the  two  halves  of  this  other,. 

tlvat 


134  HISTORY    OF    THE    SCIENCE       Book  I. 

In  tlie  eighth  and  ninth  chapters  of  his  fecond  book  he  con- 
tends againd  the  modern  muficians  that  the  diatelTaron  is  to  be 
deemed  a  confonant  *  ^  and   in   the   following  chapter  he  with  ad- 

t^jat  is  ab  and  bg,  will  both  tremble,  but  not  the  middle  point  at  b,  which  will  ea- 
Jily  be  obferveJ  if  a  little  bit  of  paper  be  lightly  wrapped  about  the  ftring  a  g,  and  removed 
fuccelTively  from  one  end  of  it  to  the  other 

A — C 


b 

This  difcovery  it  feems  was  firft  made  by  Mr.  V/llliam  Noble  of  Merton  college,  and 
after  him  by  Mr.  Thomas  Pigot  of  Wadham  college.  Long  after  that  Monfieur  Sauveur 
communicated  it  to  the  Royal  Academy  at  Paris  as  his  own  difcovery;  but  upon  his  being 
informed  by  fome  of  the  members  prefent  that  Dr.  Wallis  had  publifhed  it  before,  he  im- 
mediately refigned  all  the  honour  thereof.  There  is  an  exquifite  folution  of  thefe  and  other 
phenomena  of  founds  by  Dr.  NarcifiusMarfh,  in  Dr.  Plot's  Natural  Hiftory  of  Oxfordfhire. 

*  Hardly  anv^  queftlon  has  been  more  agitated  by  the  modern  muficians  than  this,  jvhe- 
ther  the  diateffaron  be  a  concord  or  a  difcord  ?  The  arguments  to  prove  it  the  former  are 
hardly  any  where  fo  well  enforced  as  in  a  very  learned  and  ingenious  book  intitled.  The 
Principles  of  Mufic  in  Singing  and  Setting,  with  the  twofold  Ufe  thereof,  ecclefiafticaland 
civil,  by  Charles  Butler,  of  Magdalen  college,  Oxford,  quarto,  1636,  pag.  54,  in  not, 
and  are  to  this  purpofe  : 

*  This  concord  is  one  of  the  three,  fo  famous  in  all  antiquity,  with  the  fymphony  whereof 

*  the  firft  muficians  did  content  themfelves  ;  and  for  the  inventing  of  whofe  proportions,  that 

*  moft  ancient  and  fubtle  philofopher  Pythagoras  has  been  ever  fince  fo  much  renowned 

*  among  all  pofterity.     The  joint  do£l:rine  of  thefe  three  concords,  though  it  be  as  ancient  as 

*  mufic  itfelf,  nj-jproved  not  only  by  Pythagoras,  but  alfo  by  Ariftotle,  Plato,  Ptolemy,  Eu- 

*  did,  and  by  Ariftoxenus,  Boetius,  Franchinus,  Glareanus,  and  all  learned  muficians  ;  yet 

*  fome  pregnant  wits  of  later  times,  have  made  no  bones  to  teach  the  contrary  :  and  now, 

*  forfooth,  this  diateffaron,  which  for  thoufands  of  years  hath  been  a  fpecial  concord  ;  with- 
'  out  any  the  leaft  impeachment  or  queftion,  muft  needs  upon  the  fudden  be  reckoned 
'  among  the  difcords  :  and  that  not  only  authority,  but  reafon  alfo,  and  the  very  judgrnent 
'  of  the  car,  reclaiming.     For  he  that  lifteth  to  try  upon  the  organ  or  well-tuned  virginal, 

*  (hall  fiind  that  of  itfelf  it  doth  well  accord  with  the  ground,  and  better  than  cither  of  the 

*  other  fecondary  concords  [the  fixth  or  imperfe£l  third]  and  with  a  fixth  to  yield  as  true  a 

*  fymphmiy  as  a  third  with  a  fifth  :  and  more  fweet  than  a  third  with  a  fixth  :  and  with  a 
'  fixth  and  an  eighth,  to  found  fully  and  harmonioufly  in  pleafing  variety  among  other 

*  fvmphonies.     So  that  although  beingno  primary  concord,  It  be  notfettothe  bafe  In  a 

*  clofe  ;  yet  is  it  gor^l  in  other  places,  even  immediately  before  the  clofej  and  that  in  flow 
'*  time,  as  in  this  example. 


^ 


^ 


iixjfcj^ 


^:^=S^^~^'~^~^ 


-^r^-^ 


-p4- 


•*  Moreover,  albeit  before  the  clofe,  a  difcord,  either  with  the  bafs,  or  with  an  other  part, 
be  fornetimes  allovvcd  (the  note  being  but  of  firort  time,  and  a  fweetening  concord  prefent- 
ly  fucceeding)  yet  in  the  clofe  (where  all  parts  meet  together)  in  a  long-timed  note,  not 
without  fome  paufe  upon  it  (lb  that  the  ear  doth  efpecially  attend  It)  there  is  never  any 
difcord  at  all  :  but  all  the  upper  notes  are  concords  of  one  fort  or  other :  and  thofe  as  pri- 
mary to  the  bafs,  fo  fecondary  among  themfelves.  For  example,  v.'here  the  clofe  note 
of  the  bafs  is  in  -Gam-ut  (and  confequently  thofe  of  the  other  parts  In  B-mi,  D-sol-RE, 
and  G-SOL-RE  ut,  or  their  eighths)  13-mi  being  a  perfect  third  to  the  bafs,  is  an  imper- 

«  fed 


Chap.  8.       AND    PRACTICE    OF    MUSIC.  135 

mi-rable  ingenuity  (hews  that  the  ditone  and  femidltone,  though  per- 
haps the  laft  or  loweft  in  degree,  are  yet  to   be  ranked  among   the 

**  fed  third  to  D-soL-RE,  and  a  fixth  toG-soL-RE-UT  :  and  likewife  D-sol-re  being  a 
«  fifth  toGAM-UT,  is  a  third  imperfeft  to  B-mi,  and  a  fourth  to  G  sol-re-ut.     See- 

*  ing  then  that  in    clofes,  which  are  fimply  harmonious,  no  difcord  is  admitted,  but  all 

*  notes  concord  among  themfelves ;  it  follows  that  a  fourth  as  well  as  a  fixth,  or  an  imperfeft 
*•  third  mud  be  a  concord :  and  feeing  that  a  ground  and  his  eighth  are  as  it  were  all  one,  how 
'  can  any  man  think  that  D  sol-re,  which  is  a  fifth  unto  Gam-ut,  and  a  fourth  unto 
'  G-soL-RE-UT  [his  eighth]  (hould  be  the  fweeteft  concord  unto  the  one,  and  a  difcord 
«■  unto  the  other  ;  and  yet  thatB-Mi,  which  is  but  a  third  unto  the  ground,  fliould  be  a 
«  concord  alfo  to  the  eighth. 

*  And  therefore  that  honourable  fage[Lord  Verulam]  whofe  general  knowledge  aridjudg- 
<  ment  In  all  kind  of  literature  is  generally  applauded  by  the  learned,  rcje£ling  their  novel 

*  fancy  that  reje£l  this  ancient  concord,  profefles  himfelf  to  be  of  another  mind.  "  The  con - 
«  cords  in  mufic," faith  he,  '•  between  the  unifon  andthediapafon  are  the  fifth :  which  is  ths 
*■'  mod  perfed,  the  third  next :  and  the  fixth,  which  is  more  harfh  :  and  (as  the  ancients 
«  efteemed,  and  fo  do  myfelf  and  fome  others)  the  fourth,  which  they  call  diateffaron.  Cent.^ 
<*  II.  Numb.  no.  Among  thofe  others,  that  fingular  mufician  (to  whom  the  ftudents  of 
<'  this  abftrufe  and  myfterious  faculty  are  more  beholding,  than  to  all  that  ever  have  written 
«  thereof)  Sethus  Calvifius  is  one.  His  words  are  thefc  :  "  Rejicitur  hodie  a  plerifque  mufi- 
«*  els  ex  numero  confonantiarum,  diateflarcn,  fed  minus  rede.  Nam  omnes  mufici  veteres, 
*'  tamGrjeci  quam  Latini,  earn  inter  confonantias  collocarunt:  id  quod  monumenta  ipfornm 
<«  teftantur.  Delude  quia  conjunfia  cum  aliis  intervalHs,  parit  confonantiam  :  ut  fi  adda- 
«-'  tur  ad  diapente,  fit  diapafon  :  fi  ad  ditonon,  vel  trihemitonion,  fit  fexta  major  aut  minor. 
*'  Nihil  autem  quod  in  intervallis  plurium  proportionum  confonat,  per  fe  dilTonare  poteft. 
<*  Tertlo,  fi  chords  in  inftrumentis  muficis,  exa£le  juxta  proportiones  veras  intendantur  ; 
"  nulla  difTbnantia  in  diateflaron  apparet ;  fed  ambofoni  uniformiter  ct  cum  fuavitate  qna- 
*■«  dam  aures  Ingrediuntur :  fie  In  teftudinibus  chordae  graviores  hoc  intervallo  inter  fe  dil- 
"  tant,  et  ratione  diateflaron  intenduntur.  Quarto,  nulla  cantilena  plurium  vocum  haberi 
«  potefl,  qux  careat  hac  confonantia.  Ncquaquam  igitur  eft  rejicienda  ;  fed,  propter  ufum, 
"  quem  in  Melopocia  (fi  dextre  adhibeatur)  habet  maximum,  recipienda." 

The  feveral  arguments  contained  in  the  above  paflage,  with  many  others  to  the  purpofe,. 
may  be  feen  at  large  in  a  treatife  written  by  Andreas  Papius  Gandenfis,  a  man  of  excellent 
learning,  and  a  good  mufician,  entitled  De  Confonantlls  feu  pro  Diateflaron.  Antv.  158 1 . 

"But  notwithftandingthe  authorities  above-cited,  it  feems  that  thofe  who  fcruple  to  call 
the  diateflaron  a  confonant,  have  at  leaft  a  colour  of  reafon  on  their  fide  ;  for  it  is  to  be 
noted  of  the  other  confonants,  namely,  the  diapafon  and  diapente,  that  their  replicates  alfo 
are  confonants,  that  is  to  fay,  the  fifteenth  is  a  confonant,  as  is  alfo  the  twelfth,  which  i» 
the  diapafon  and  diapente  compounded,  but  the  diapafon  and  diateflaron  compounded  in 
the  eleventh  do  not  make  a  confonance.  Di .  Wallis  afliigns  as  a  reafon  for  tai^;,  that  ks  ra- 
tio ^=±y.2,  or  in  words,  8  to  3,  equal  to  4  to  3  multiplied  by 2,  is  neither  a  multiple  nor 
a  fJperparticular.  Wall.  Append,  de  Vet.  Harm.  328.  He  adds  with  rcfpeQ  to  the  fo- 
htaryor  uncompounded  fourth,  that  the  reafon  for  not  admitting  it  in  compofition  is  not 
becaufe  it  i&not  a  confonant,  but  becaufe  whenever  its  diapafon  is  taken  with  it,  as  it  Irc- 
quently  mufl  be,  it  as  It  were  overfliadows  or  obfcures  it,  and  the  filth  and  not  the  fourth 
Ts  the  confonance  heard.     Ibid.     .  .  ,  1  •  1 

The  obfervation  of  Dr.  Wallis  that  the  Diapafon  cum  Diatefl:aron  is  neither  a  multiple 
nor  a  fuperparticular.  Is  grounded  ona  dcmonftration  of  Boetius  in  his  treatlieDe  Mufica^ 
lib  II.  cap.  xxvi,  which  fee  tranflated  in  the  firft  volume  of  this  work,  book  III.  cap.  vi.. 
The  title  of  the  chapter  in  the  original  is  '  Diateffaron  ?c  Diapafon  non  efl"=,  confonantiam, 
*  fecundum  Tythagoricos  ;'  and  it  Is  highly  probable  that  this  aflerUon,  and  the  fingular 
property  of  the  diateflaron  above  noted,  might  give  occafion  to  Dcs  Cartes  to  fay,  as  he  does 
in  his  Compendium  Muficx,  cap.  IV.  that  the  diuteflTaron  is  of  all  the  confonauccs  the  molt 
unhappy.. 


136  HISTORY    OF    THE    SCIENCE      Boo'k  I. 

confcnances  ;  this  he  has  ahnoH:  made  Ptolemy  confefs  by  the  fenfe 
which  he  puts  upon  the  fixth  chapter  of  his  firfl  book,  but  his  own 
arguments  in  favour  of  this  pofition  are  the  mod  worthy  our  attention, 
and  they  are  comprifed  in  the  following  paflage  : 

*  Next  after  the  diapente  and  diateflaron  are  formed  by  adivifion  of 
the  diapafon,  the  ditone  is  eafily  to  be  found,  and  after  that  the  femi- 
ditone,  which  interval  is  the  difference  whereby  the  diapente  exceeds 
the  ditone,  for  the  diapente  is  no  otherwife  divided  into  the  ditone 
and  femiditone  than  is  the  diapafon  into  the  diapente  anddiateffaronj 
and  the  divifion  of  the  diapafon  being  made  into  the  diapente  and 
diateffaron,  which  are,  as  has  been  faid,  the  next  confonants  after 
it  as  to  perfedlion,  and  con fi ft  in  two  proportions,  the  fefquialtera 
and  fefquitertia,  which  follow  the  duple  immediately;  reafon  it- 
felf  feems  to  demand  that  the  diapente,  which  is  the  greater  part 
of  the  diapafon,  (liould  be  rather  divided  than  the  diateffaron,  which 
is  the  lefferpart;  thus  the  diapente  will  be  divided  into  the  ditone 
and  femiditone,  as  the  fefquialtera  ratio  is  into  the  fefquiquarta  and 
fefquiquinta  ;  for  the  terms  of  the  fefquialtera  ratio  2  and  3,  be- 
caufe  it  cannot  be  divided  in  thefe,  being  doubled,  there  will  arife 
4  and  6,  the  arithmetical  mean  between  which  is  5,  which  is  fef- 
quiquarta to  the  leffer,  and  fubfefquiquinta  to  the  greater  -,  and 
th6ugh  thefe  two  proportions  do  not  immediately  follow  the  fefquial- 
tera as  that  does  the  duple,  yet  they  divide  it  by  a  divifion  which 
is  the  ncareft  to  equality  ;  and  in  the  fame  manner,  though  the 
ditone  and  femiditone  do  not  immediately  follow  the  diapente  but 
the  diateflaron,  yet  they  divide  it  as  the  diapente  and  diateffaron  di- 
vide the  diapafon,  that  is  to  fay,  in  proportions  the  neareft  to  equa-? 
lity  that  may  be,  and  the  ditone,  as  being  the  greater  part  of  the  dia- 
pente, is  found  in  the  greater  proportion,  that  is  the  fefquiquarta, 
and  is  therefore  juftly  called  by  pradical  mulicians  the  greater 
third.  But  the  femiditone,  which  is  the  leffer  part  of  the  diapente^, 
is  in  the  fefquiquinta  ratio,  and  is  therefore  juftly  called  the  lefter 
third.  The  analogy  of  this  new  divifion  is  approved  both  by  the 
fenfes  and  reafon,  and  therefore  its  defcription  muft  by  no  means  be 
omittedc 


Dia- 


Chap.  9.      AND    PRACTICE    OF    MUSIC. 

_.         ^   CDitone 
^Diapente-J 

^        I  Diateliaron 
*  The  fame  analogy  is  thus  declared  in  numbers: 


137 


Duple 
undivided 

Diapafon 
undivided 


Duple   divided 


Sefquialtera  divided 


Sei'quialtera 
undivided 


Sefquitertia 


Sefquiqijaria 
undivided 


3  4 

Diapente    I  t^-  ^  /r         I  Ditone  un- 

jT.j   J      Diateliaron         ,.   .,    j 
undivided  divided 


Sefquiquinta 

S  6 

Semiditone 


Diapafon  divided 


Diapente  divided 


Salinas  adds,  that  men  always  did  and  always  will  ufe  the  above 
confonances  both  in  vocal  and  inftrumental  mufic,  and  not  thofe  of 
Pythagoras,  fome  of  which  were  not  only  diflbnant,  but  inconcin- 
nous,  as  the  ditone  81  to  64,  and  the  femiditone  32  to  27.  As  to 
the  ditone  and  femiditone  invefligated  by  him,  he  fays,  as  their  pro- 
portions follow  by  a  procefs  of  harmonical  numeration,  that  of  the 
fefqaitertia,  they  muft  neceffarily  be  confonants,  and  immediately 
fallow  the  diateifaron.  He  concludes  this  chapter  with  obferving 
that  Didymus  feems  to  be  the  firil:  of  muficians  that  confidered  the 
ditone  and  femiditone  as  anfwering  to  the  fefquiquarta  and  fefqui- 
quinta  ratios,  and  that  the  fame  may  be  gathered  from  thofe  por- 
tions Vvhich  Ptolemy  has  given  in  the  fecond  book,  chap.  xiv.  of  his 
Harmonics. 


CHAP. 


IX. 


HAVING  thus  fliewn  the  ditone  and  femiditone  to  be  confonances, 
with  the  method  of  producing  them,  Salinas  proceeds  in  the 
next  fubfequent  chapters  to  explain  how  the  kfil-r  intervals  are  pro- 
duced, by  ftating  the  feveral  diiTcrences  by  which  the  greater  exceed 
the  leffer.  The  method  taken  by  him  for  that  purpofe  has  been  ob- 
ferved  in  a  preceding  chapter  of  his  work,  where  the  ratios  of  the  fe- 
veral intervals  are  treated  of,  and  therefore  need  not  be  here  repeated. 
Vol.  III.  T  In 


138  HISTORY    OF    THE    SCIENCE      Book  I. 

In  the  nineteenth  chapter  of  the  fame  fecond  book  is  contained  a 
defcription  of  an   inftrument  invented  by  Salinas  for  demonftrating 
the  ratios  of  the  confonances,  as  alfo  of  the  lefTer  intervals.     He  fays 
that  this  inftrument  is  much  more  complete  than  the  Helicon  of  Pto- 
lemy^  defcribed  in  the  fecond  book  of  his  Harmonics,  for  that  in  the 
Helicon  are  only  five  confonants  of  the  Pythagoreans,  and  the  diapa- 
fon  cum  diateftaron,  which  Ptolemy  himfelf  added,  and  of  the  diftb- 
nances,  the  tone  major,  and  the  diapafon  cum  tono  majori,  whereas 
he   fays   in    thia  inftrument    the    unifon   and    feven   confonants  arc 
found  within  the  diapafon,  five   more   within  the  difdiapafon,    and 
two  beyond  it ;  and  of  the  diflbnant  intervals,  not  only  the  greater 
tone,  and  diapafon  with  the  greater  tone,  as  in  that,  but  alfo  thelefler 
tone  and  greater  femitone;  fo  that,  as  he  fays,   not  one  of  the  fim- 
ple  intervals  proper  to  the  diatonic  genus  is  undefined  by  this  inven- 
tion of  his,  as  may  be  feen  in  the  explanation  fubjoined  to  the  type 
thereof  exhibited  by  him,  and  which  type  is  as  follows : 


12    F 


Chap.9.       AND    PRACTICE    OF    MUSIC.  139 

EXPLANATION. 

*  The  fide  A  F  of  this  fquare  is  divided  into  many  parts,  firft  into  tw© 

*  equally  at  the  point  c,  then  into  three  at  the  points  b  and  d,  and 

*  laftly  into  four,  to  give  the  point  e,  fo  that  the  whole  line  A  f  is  tri- 

*  pie  of  the  part  a  b,  duple  of  a  c,  fefquialtera  to  a  d,  and  fefquiter- 

*  tia  to  a  e.     From  thefe  points  are  drawn  the  fix  parallel  lines  a  m, 
'  B  N,  c  o,  D  p,  E  Q^  and  f  r,  all  of  which,  except  the  firft,  are,  by  a 

*  line  drawn  from  the  angle  a  to  the  middle  of  the  line  f  r,  cut  into 

*  two  parts  in  the  points  G,  h,  i,  k,  l.  If  any  one  fhall  caufe  an  indru- 

*  ment  to  be  conflruded  of  this  form  with  chords,  fo   that  the  flays 

*  which  fuftain  the  whole  may  fall  in  with  the  lines  a  f  and  m  r,  and 

*  the  chords  with  the  other  lines,  and  if  a  bridge  be  applied  in  the 

*  diredion  a,  l,  I  fay  that  all  the  confonants  and  the  lefTer  intervals  of 

*  the  diatonic  genus  will  be  heard  therein ;  for  as  the  fides  of  the  fimi- 
«  lar  triangles,  which  are  oppofite  to  equal  angles,  are  proportional  to 

*  to  each  other  by  the  fourth  propofition  of  the  fixth  book  of  Euclid, 

*  therefore  as  the  whole  line  a,  f,  is  to  its  parts,  fo  is  the  line  f  l  to 

*  the  fides  that   are   parallel   and  oppofite  to  it.     Wherefore  as  the 

*  line  A  F   of  the  triangle  a,  f,  l,   is  conftituted  fefquitertia  to  a  e 

*  of  the  triangle  A  e  k,  f  l  will  alfo  be  fefquitertia  to  e  k,  and  if  the 

*  line  F  L  be  made  to  confifi:  of  twelve  parts,  the  line  e  k  will  contain 

*  nine  of  them  j  and  by  a  like   reafoning  the  lines  d  i  will   have  8, 

*  c  H  6,  and  b  g  4  j  and  the  upper  line  a  m  being  double  of  f  l,  will 

*  contain  24.    The  remaining  part  of  the  lines  beyond  the  bridge  will 

*  contain  as  many  parts  as  will  complete  the  refpedtive  parts  within 

*  the  bridge  to  24.     So  that  g  n  will  confift  of  20,  ho  18,  i  p  16, 

*  K  Q^i  5,  L  R  12,  and  if  every  two  of  thefe  numbers  be  compared  to- 

*  gether,  the  intervals  which  arife  from  flriking  their  refpe(5live  chords 

*  will  be  perceived  in  this  manner  : 

*  Unifon  12  to  12. 

*  Greater  femitone  16  to  15. 
'  Lefier  tone  20  to  18. 

*  Greater  tone  twice,  9  to  8,    18  to  16. 
'  Semiditone  twice,  18  to  15,  24  to  20. 

*  Ditone  twice,  15  to  12,  2.0  to  16. 

*  Diateflaron  five  times,  8  to  6,  1 2  to  9,  1 6  to  1 2,  20  to  1 5,  24  to  1 8. 

T  2  *  Diapente 


140  HISTORY    OF   THE    SCIENCE      BookL 

*  Diapente  five  times,  6  to  4,  9  to  6,  1 2  to  8,  1 8  to  1 2,  24  to  16. 

*  LelTer  hexachord  twice,  24  to  15. 

«  Greater  hexachord  twice,   15  to  9,  20  to  12. 

*  Diapafon  five  times,  8  to  4,  1 2  to  6,  1 6  to  8,  1 8  to  9,  24  to  1 2. 

*  Some  intervals  repeated  with  the  diapafon. 

fLefTer  tone  20  to  9. 
Greater  tone  twice  9  to  4,   18  to  8. 
Ditone  tv/ice,  20  to  8,  i  c  to  6. 
•  uiapaion  witn  me.  ^-^.^^^^^^  j^;,,^  ,6  ,„  6^  2^  to^. 

Diapente  thrice,  12  to  4,  1 8  to  6,  24  to  8. 
^Greater  hexachord  20  to  6. 

«  Difdiapafon  twice,  16  to  4,  24  to  6. 

•  Some  intervals  repeated  with  a  difdiapafon.  J 

Greater  tone  18  to  4. 


run 

:]Dit 
iDi; 


Difdiapafon  withthe-J  Ditone  20  to  4. 

apente  24  to  4. 

Upon  this  improvement  of  the  Helicon  of  Ptolemy  Salinas  himfelf 
remarks  in  the  words  following : 

«  I  thought  proper  thus  minutely  to  explain  all  the  parts  of  this 

*  inftrument   becaufe   of  its  great  and   wonderful  excellence.      But 
<  what  I  think  feems  moit  worthy  of  admiration  in  it  is,  that  it  con- 

*  fids  in   fextuple  proportion,  wherein   are  contained   all   the  confo- 

*  nants  and  diffonants.     And  hereby  the  wonderful  virtue  of  the  fe- 

*  nary  number   appears,    fince  not   only  fix  fimple  confonants  arc 

*  found  in  the  fix  fird  numbers,  and  in  the  fix  firfl  fimple  proportions, 

*  and   alfo   in   the  fix  firft  which  fucceffively  arife  by  multiplication 

*  (fo  that  we  cannot  either  in  the  one  or  the  other  proceed  farther  to 

*  any  other  confonantsor  harmonical  intervals)  but  alfo  you  may  find 

*  confonants  and  difi^onants  confcituted  in  all  the  fix  kinds  of  propor- 

*  tion,  that  is  to  fay,  in  one  of  equality,  and  five  of  inequality,  if  you 

*  are  minded  to  inveftigate  their  lawful  proportions  in  numbers*.' 

*  The  iiivefli^ation  of  (o  great  a  number  of  confonant  and  dllTonant  intervals  as  are 
al3ov2  given  by  means  of  fo  fimple  an  inftrument  or  diagram  as  this  of  Salinas,  is  a  very 
delightful  fpeculation.     But  it  has  lately  been  difcovered  that  from  the  famous  theorem  of 

Pychago- 


Chap.9.     AND    PRACTICE    OF    MUSIC.  141 

In  his  demonftration  that  the  ratio  of  a  comma  is  81  to  80,  and 
that  it  is  the  difference  between  the  tone  major  and  tone  minor,  he 
fays  that  the  comma  is  the  leaft  of  all  the  fenfible  intervals,  and  that 
he  had  experienced  it  to  be  fo  by  his  ear,  in  an  inftrument  which  he 
had  caufed  to  be  made  at  Rome,  in  which  both  tones  were  heard, 
and  their  difference  was  plainly  to  be  perceived,  and  he  infers  frora 
a  paffage  in  Ptolemy,  where  he  makes  it  indifferent  whether  the  ief- 
quiodlave  or  fefquinonal  tone  have  the  acute  place  in  the  diatonic  te- 

Pythagoras,  contained  in  the  47th  Propofition  of  the  firfl  book  of  Euclid,  the  confonsnces 
and  diflbnances  may  with  no  lefs  a  degree  of  certainty  be  demon ftratcd  than  by  the  above 
method  of  Salinas.  The  author  of  this  difcovery  was  Mr.  John  Harrington,  of  the  wdl- 
known  family  of  that  name  near  Bath.  This  gentleman  made  the  important  difcovery 
above-mentioned,  and  in  the  year  1693  communicated  it  to  Mr.  Newton,  afterwards  Sir 
Ifaac,  in  2  letter,  which,  with  the  anfwer,  are  here  inferted  from  a  mifcellany  entitled 
Nugsc  Antiquae,  publifhed  in  1769. 

«  Sir, 
«  At  your  requeft  I  have  fent  you  my  fche«ie  of  the  harmonic  ratios  adapted  to  the  Py- 

*  thagorean  propofition,  which  feems  better  to  exprefs  the  modern  improvements,  as  the 

*  ancients  were  not  acquainted  with  the  fefquialteral  dividons,  which  appears  ftrange.  Pto- 
«  lemy's  Helicon  does  not  exprefs  thefe  intervals,  fo  effential  in  the  modern  fyflem,  nor 

*  does  the  fchemiC  of  four  triangles  or  three  exprefs  fo  clearly  as  the  fquares  of  this  propofi- 

*  tion.  What  I  was  mentioning  concerning  the  fi/niiitude  of  ratios  as  conflituted  in  the 
«  facredarchite£lure.  was  my  amufement  at  my  leifure  hours,  but  am  not  mafier  enou.  h 

<  to  fay  much  on  thefe  curious  fubjedls.  The  given  ratios  in  the  dimcnfions  of  Noah's 
«  ark,  being  300,  50,  and  30,  do  certainly  fall  in  with  what  lobfcrved  ;  the  reduction  to 

<  their  lowed  terms  comes  out  6  to  i,  which  produces  the  quadruple  fefqui.dteml  ratio, 

*  and  5  to  3  is  the  inverfe  of  6  to  5,  which  is  one  of  the  ratios  refulting  from  the  divifion 

*  of  the  fefquialteral  ratio;  the  extremes  are  as  10  to  i,  which  produce  by  redudicn  5  to 
«  4,  the  other  ratio  produced  by  the  divifion  of  the  fefquialteral  ratio.     Thus  are  nroduced 

*  the  four  prime  harmonical  ratios,  exclufive  of  the  diapafon  or  duple  ratio.  1  have  con- 
'  jeftured  that  the  other  mofl  general  ertablifl:ied  aichi:ecrural  ratios  owe  their  beauty  to 

*  their  approximation  to  the  harmonic  ratios,  and  that  the  feveral  forms  of  members  are 

*  more  or  iefs  agreeable  to  the  eye,  as  they  fugged  the  ideas  o(  figures  compofed  of  fuch 

*  ratios.     1  tremble  to  fug.r^efl:  my  crude  notions  to  ycur  judgment,  but  have  the  faiidion 

*  of  your  own  defire   and  kind  promife  of  aih (lance  to  redlify  my  errors.     I  am  fenfible 

*  thefe  matters  have  been  touched  upon  befo:e,  but  my  attempts  were  to  reduce  maiteis  to 

*  fomc  farther  certainty  as  to  the  fimplicity  an;!  origin  of  the  pleafui  cs  aficdling  our  difier- 

*  ent  fenfes,  and  try  by  comparifon  of  thofe  pleafures  which  affciTi  one  fer.fe,  from  ohjecls 

*  w-hofe  principles  are  known,  as  the  ratios  of  fc.md,  if  other  affccliions  agreeaLlc  to  other 

*  of  our  fenfes  were  owing  to  fimilar  caufes.     You  will  pardon  my  prelumption,  as  I  am 

*  fenfible  neither  m.y  years  nor  my  learning  permit  me  to  fpeak  with  propriety  herein,  but 

*  as  you  fignified  your  pleafure  of  knowing  v/hat  1  was  about,  have  thus  ventured  to  com- 

*  municate  my  undigefted  fentiments,  and  am,  Sir, 

•  Your  obedient  fervant, 
*  Wadham  college,  t  John  Harington.' 

'  May  22,  1693. 

DEMON- 


142  HISTORY    OF    THE    SCIENCE      Book  I. 

trachord,  that  the  ear  of  Ptolemy  was  not  nice  enough  to  difcern  the 
difference  between  the  greater  and  lelFer  tone. 


DEMONSTRATION. 


KLMCC  :  KLMCB  =  25  :  24  b  2d 
CML  :  lEGH  =  15  :  16  b  2d 
CB:cMr:q:io4i=2d 
BG  :  BC  =  8  :  g  4j:  2d 
BA  :  EG  =  7^  8  bb  3d 

AD  :  AB  =  6  :  7  :^  4  2^^ 
c  :  AD  =  5  :  6  b  3d 

B  :  c  =  4  :  5  #  3d 

BA  :  CB  =  7  :  9  b  4th 

A  :  B  =  3  :  4  4th 

c  :  BA  =  5  :  7  ;j^  4th 


BA  :  CM  =  7  :  10  b  5th. 
B  :  AD  =  4  :  6  5tb 
CB  :  CMB  =  9  :  14  41*  S^^ 
c  :  BG  =  5  :  8  b  6th 
A  :  c  =  3  :  5  :|j:  6th 
BGH  ;  AB  =  12  :  7  bb  7th 
AB  :  B  =  7  :  4  #  #  6th 
CB  :  BGIH  =  9  :  16  b  7th 
C  :  CB  =  5  :  9  b  7th 
BG  :  CML  =  8:15:^  7th 

mi  BG  :  CMLKC  =  48  :  25  #  #  7* 


The  above  demonftration  Is  given  in  the  author's  own  figures  and  chara£lers,  but  it 
feems  in  fome  inftaiices  to  be  rather  inaccurately  exprefled  ;  and  perhaps  it  had  been  bet- 
ter if  he  had  fpoke  thus,  25  to  24  femitone  minus,  16  to  15  femitone  majus,  lO  to  9  tone 
minor,  8  to  9  tone  major,  6  to  5  third  minor,  16  to  9  feventh  minima,  9  to  5  feventh  mi- 
nor, 15  to  8  feventh  major,  48  to  25  greateft,  or  ftiarp  {harp  feventh. 

The  folio '.ving  is  the  anfwer  to  Mr.  Harrington's  letter  : 

«  Sir, 
*  By  the  hands  of  your  friend  Mr,  Confel  I  was  favoured  with  your  demonftration  of  the 

*  harmonic  ratios  from  the  ordinances  of  the  47th  of  Euclid.     I  think  it  very  explicit,  and 

*  more  perfect  than  the  Helicon  of  Ptolemy,  as  given  by  the  learned  Dr.  Wallis.     Your 

*  obfervations  hereon  are  very  juft,  and  afford  me  fome  hints,  which  when  time  allows  I 

*  would  purfiie,  and  gladly  afTift  you  with  any  thing  I  can  to  encourage  your  curiofity  and 

*  labours  in  thefe  mr.tters.     I  fee  you  have  reduced  from  this  wonderful  propofition  the  in- 

*  harmonics,  as  well  as  the  coincidences  of  agreement,  all  refulting  from  the  given  lines 

*  3,  4,  and  5.    You  obferve  that  the  multiples  hereof  furnifh  thofe  ratios  that  afford  plea- 

*  fure  to  the  eye  in  architectural  defigns,     I  have  in  former  confiderations  examined  thefe 

*  things,  and  wifii  my  other  employments  would  permit  my  further  noticing  thereon,  as 

*it 


Chap.  9.     AND    PRACTICE    OF   MUSIC,  143 

Salinas  obferves,  that  befides  the  two  femitones,  the  greater  and  Icf- 
fer,  into  which  the  tone  is  divided,  and  which  is  the  difference  whareby 
the  ditone  exceeds  the  femiditone,  there  is  a  neceflity  for  inferting  into 
mufical  inftruments,  more  efpecially  the  organ,  another  interval  call- 
ed the  Diefjs  *,  becaufe  without  it  there  can  be  no  modLiIating  in 
that  kind  of  mufic  called  by  the  Symphonetae,  M-jfica  fida-j-,  in 
which  there  is  occafion  to  make  ufe  of  three  diverfities  of  b  foft ;  nor 

it  deferves  much  our  fl:ri£l  fcrutlny,  and  tends  to  exemplify  the  fimpHcity  in  all  the 
works  of  the  Creator  ;  however  I  fhall  not  ceafe  to  give  my  thoughts  towards  this  fubjeil 
at  my  leifure.  I  beg  you  to  purfuethefe  ingenious  Ipeculations,  as  your  genius  feems  to 
incline  you  to  mathematical  refearches.  You  remark  that  the  ideas  of  beauty  in  furvey- 
ing  objects  arifes  from  their  refpe£live  approximations  to  the  fimple  conftrudions,  and 
that  the  pleafure  is  more  or  lefs  as  the  approaches  are  nearer  to  the  harmonic  ratios.  I 
believe  you  are  right ;  portions  of  circles  are  more  or  lefs  agreeable  as  the  fegments 
give  the  idea  of  the  perfecSl  figure  from  whence  they  are  derived.  Your  examinations  of 
the  fides  of  polygons  with  rectangles  certainly  quadrate  with  the  harmonic  ratios  ;  I  doubt 
fome  of  them  do  not,  but  then  they  are  not  fuch  as  give  pleafure  in  the  formation  or  ufe. 
Thefe  matters  you  mud  excufe  my  being  exa£l  in  during  your  enquiries,  till  more  lei- 
fure gives  me  room  to  fay  with  mote  certainty  hereon.  I  prefume  you  have  confu'ted 
Kepler,  Merfenne,  and  other  writers  on  the  conftruclion  of  figures.  What  you  obferve  of 
the  ancients  not  being  acquainted  with  a  divifion  of  the  fefquialteral  ratio  is  very  right ; 
it  is  very  ftrange  that  geniufes  of  their  great  talents,  efpecially  in  fuch  mathematical  confi- 
derations  (hould  not  confider  that  although  the  ratio  of  3  to  2  was  not  divifib'e  under  that 
very  denomination,  yet  its  duple  members  6  to  4  eafily  pointed  out  the  ditone  4  to  5, 
and  the  minor  tierce  6  to  5,  which  are  the  chief  perfe6lions  of  the  diatonic  fyftem,  and 
without  which  the  ancient  fyftem  was  doubtlefs  very  imperfeCl.  It  appears  (trange  that 
thofe  whofe  nice  fcrutinies  carried  them  fo  far  as  to  produce  the  fmall  limmas  fliould  not 
have  been  more  particular  in  examining  the  greater  intervals,  as  they  now  appear  (o  fer- 
viceable  when  thus  divided.  In  fine,  I  am  inclined  to  believe  fome  general  laws  of  the 
Creator  prevailed  with  refpeft  to  the  agreeable  or  unpleafmg  afFeflions  of  all  our  fenfes ; 
at  leaft  the  fuppofition  does  not  derogate  from  the  wifdom  or  power  of  God,  and  feems 
highly  confonant  to  the  fimplicity  of  the  macrocofm  in  general.  Whatever  clfe  your  in- 
genious inquiries  may  produce  1  fhall  attentively  confider,  but  have  fuch  matters  on  my 
mind  that  I  am  unable  to  give  you  more  fatisfa<5iion  at  this  time  ;  however,  I  beg  your 
modefly  will  not  be  a  means  of  preventing  my  hearing  from  you  as  ycu  proceed  in  thefe 
curious  refearches,  and  be  aflured  of  the  befl  fervices  in  the  power  of 
*  May  30,  1693.  '  Your  humble  fcrvant, 

Is.  Newton.' 
*  The  author  obferves  that  the  ancients  gave  a  diefis  to  each  of  the  three  genera,  that 
is  to  fay,  they  called  the  leafl:  interval  in  each  by  that  name.  In  fliort,  tlie  word  diefis  fig- 
rifies  properly  a  particle,  and  Macrobius  ufes  it  in  that  fenfe,  and  fo  explains  it ;  but  the 
diefis  which  Salinas  is  here  for  introducing  is  that  interval  whereby  the  kfl'er  femitone  is 
exceeded  by  the  greater,  and  is  in  the  ratio  of  128  to  175. 

f  Mufica  fidla,  in  Englifh  feigned  mufic,  is  by  Andreas  Ornithopnrcus  thus  defined: 
*  Mufica  ficla  is  that  which  the  Greeks  called  Synemmenon,  a  fong  made  beyond  the  re- 
'  gular  compafs  of  the  fcale ;  or  it  is  a  fong  full  of  conjundlions.'  He  means  to  fay  it  is  tlr..t 
kind  of  Cantus  in  which  the  tetrachord  fynemmenon  is  ufed,  and  wlach  has  for  its  final  note 
or  key  fome  chord  not  included  in  the  ordinary  fcale,  as  Bb  or  Eb.  See  a  type  of  it  in  the 
account  herein  before  given  of  Ornithoparcus,  vol.  11.  book  iV.  chap.  i.  pag.  393. 

It  is  pretty  clear  that  at  the  time  when  Ornithoparcus  wrote,  that  pra£lice  ol  ciificcating 
the  MI,  which  feigned  mufic  implies,  was  carried  no  farther  than  was  necefl~ary  to  ccnfl:i- 

tute 


144  HISTORY    OF   THE   SCIENCE      Book  I. 

ought  this  he  fays  to  be  deemed  a  new  invention,  for,  which  is  cu- 
rious and  worthy  of  obfervation,  he  relates  that  the  Italians  have  in 
their  organs  two  diefes  in  every  diapafon,  the  one  between  a,  diatonic 
and  g,  chromatic,  and  another  between  d,  diatonic,  and  c,  chromatic  *j 
and  that  on  many  fuch  organs  as  thefe  he  had  often  played,  particu- 
larly on  a  very  famous  one  at  Florence,  in  the  monaftery  of  the  Do- 
minicans, called  Sanda  Maria  Novella, 

In  the  fubfequent  chapters  of  this  fecond  book  are  a  great  num- 
ber of  fcales,  and  diagrams,  contrived  with  wonderful  ingenuity 
to  explain  and  illuftrate  the  feveral  fubjeds  treated  of  in  the  book. 

In  the  third  book  he  treats  of  the  genera  of  the  ancients,  and  that 
with  fo  much  learning  and  fagacity,  that,  as  has  already  been  noted. 
Dr.  Pepufch  fcrupled  not  to  declare  to  the  world  that  the  true  enar- 
monic,  the  moft  intricate  of  the  three,  and  which  has  been  for 
many  ages  pafl  fuppofed  to  be  lofl,  is  in  this  work  of  his  accurately 
determined. 

From  his  reprefentation  of  the  ancient  genera,  that  is  to  fay,  of 
the  enarmonic,  the  chromatic,  and  even  fome  fpecies  of  the  diato- 
nic, it  moft  evidently  appears  that  they  confifted  in  certain  divifions 
of  the  tetrachord,  to  which  we  at  this  day  are  Grangers  j  and  it  may- 
farther  be  faid  that  the  intervals  which  divide  both  the  chromatic  and 
enarmonic  tetrachord,  however  rational  they  may  be  made  to  appear 
by  an  harmonical  or  numerical  procefs  of  calculation,  are  to  a  mo- 
dern ear  fo  abhorrent  as  not  to  be  borne  without  pain  and  averfion. 

After  what  has  been  faid  in  fome  preceding  pages  of  this  work 
touching  the  genera  and  their  fpecies,  and  from  the  teftimony  of 
fome   even  of  the  Greek  harmonicians  herein  before  adduced,  it  is 

tute  the  keys  B  b  and  E  b,  each  with  the  major  third.  As  to  the  latter,  it  is  faid  to  have 
been  firft  made  ufe  of  by  Clemens  non  Papa,  who  lived  about  the  year  1560;  and  it  is  wor- 
thy of  obfervation  that  that  great  variety  of  keys  which  is  created  by  the  multiplication  both 
of  the  acute  and  grave  fignatures,  except  in  the  above  inftances,  is  a  modern  refinement. 
Compofitions  in  thefe  keys,  for  example  D,  with  a  major  third,  A  with  a  major  third,  E 
with  a  major  third,  F-!^  with  a  minor  third,  F  with  a  m.inor  third,  and  B  natural  with  a 
minor  third,  are  not  to  be  traced  much  backwarder  than  to  the  middle  of  the  lafl:  century, 
and  probably  owe  their  introdmSlion  to  the  improvements  in  the  practice  of  the  violin: 
elfehad  they  probably  been  included  in  the  definition  of  Mufica  fifta  by  Ornithoparcus. 

*  The  pallage  in  Salinas  is  as  above,  but  it  is  to  be  fufpedted  that  the  letter  c  is  mif- 
printed,  and  llioukl  have  been  e  ;  and  if  fo,  this  improvement  of  the  organ  by  the  Italians 
correfponds  exaftly  with  what  is  to  be  obferved  in  fome  organs  in  this  country,  that  in  the 
Temple  church  in  particular,  wherein  are  feveral  keys  for  g^g  and  a  b,  and  for  d*  and  e  b, 
from  the  loweii:  to  the  higheft  in  the  range. 

clear 


Chap.9-       AND    PRACTICE    OF    MUSIC.  145; 

clear  beyond  a  doubt  that  both  the  enarmonic  and  chromatic  genera 
are  as  it  were  by  the  general  confent  of  mankind  laid  afide.  It  would 
therefore  be  to  little  purpofe  to  follow  Salinas  through  that  labyrinth 
of  reafoning  by  which  he  attempts  to  explain  them  ;  fuch  as  are  de- 
firous  of  full  information  in  this  refpe(ft  muft  be  referred  to  his  own 
work.  In  order  however  to  gratify  the  curiofity  of  others,  and  to 
difplay  the  depth  of  knowledge  with  which  this  author  invefti- 
gates  the  do(ftrine  of  the  ancient  genera,  it  may  not  be  amifs  here 
to  fubjoin  the  following  extracts,  which  contain  the  fubilance  of  his 
arguments  in  the  difcuflion  of  this  curious  fubjedt. 

A  Genus  in  mufic,  according  to  this  author,  is  a  certain  habitude 
or  relation  which  the  founds  that  compofe  the  diateflaron  have  to  eack 
other  in  modulation. 

Having  thus  defined  the  term  Genus,  in  the  doing  whereof  he  has 
apparently  taken  Ptolemy  for  his  guide,  he  thus  farther  proceeds  to 
deliver  his  fentlments  of  the  genera  at  large. 

*  The  ancients  were  unanimoufly  of  opinion  that  the  genera  were 

*  determined  rather  by  the  divifion  of  the  diateflaron,  that  being  the 

*  leaft,  than  of  any  other  fyftem  or  confonance  ;  and  this  was  not  the 

*  fcntiment  of  the  Pythagoreans  only,  who  held  that  there  could  be 

*  no  confonance  of  a  lefs  meafure  than  two  tones,  but  alfo  of  Arifto- 

*  xenus  himfelf,  who,  though  he  taught  that  the  differences  of  the 

*  inlei^vals  were  not  commenfurable  by  numbers  and  their  propor- 

*  tions,  but  that  the  fenfes  were  the  proper  judges  thereof,  afferts  in 

*  the  firft  book  of  his  Elements  of  Harmony,  that  no  confonance  can 

*  be  found  of  a  lefs  content  than  that  between  the  unlfon  and  its 

*  fourth  ;  a  pofition  which  however  we  have  fhewn  not  to  be  ftrldly 

*  true,  whether  we  appeal  to  the  judgment  of  our  fenfes  or  our  rea- 

*  fon.    Not  to  enter  into  too  fcrupulous  a  difcuflion  of  this  matter, 
'  let  it  fufficc  to  fay,  that  for  the  purpofe  of  defining  the  genera,  all 

*  the  ancients  to  a  man  have  fuppofed  a  divifion  of  the  diateffaron  into 

*  four  founds  or  three  intervals,  from  which  method  of  divifion  arc 

*  conftituted  the  three  genera  :  the  difference  between  each  of  thefe 

*  is  generally  denoted  by  the  epithets  rarum,  rare  or  thin  ;  fpiffum, 

*  thick  or  clofe  fet ;  and  fpiffiffimum,  thickeft  or  clofeft  fet,  accord- 

*  ing  to  the  quantities  of  thofe  leffer  intervals  by  which  they  were 

*  feverally  divided  ;  the  primitive  terms  of  difiindion  for  the  genera 

Vol.  III.  U  •  were 


« 


146  HISTORY    OF    THE    SCIENCE      Bookl. 

were  thofe  of  Diatonica,  Chroma,  and  Harmonia,  though  the 
writers  of  later  times  ufe  thofe  of  Diatonicum,  Chromatlcum,  and 
Enarmonium.  The  Diatonicum  was  faid  to  be  rare  becaufe  it  pro- 
ceeds by  a  tone,  tone  and  femitone,  which  are  the  greateft  and 
mod  rare  of  the  lefTer  intervals :  and  Ptolemy  afTerts  that  this  ge- 
nus was  called  the  Diatonum  becaufe  it  abounded  in  tones.  The 
Chromaticum  was  that  which  proceeded  by  a  trihemitone,  a  femi- 
tone and  femitone  ;  and  becaufe  the  femitones  are  thicker  or  clofer 
than  the  tones,  this  genus  was  faid  to  be  thicker  and  fofter  than 
the  diatonum.  The  word  Chroma,  which  in  Greek  fignifies  co- 
lour, was  applied  to  it,  as  Boetius  writes,  as  being  expreffive  of  its^ 
variation  from  the  diatonum,  or,  as  the  Greeks  fay,  becaufe  that  as 
colour  is  intermediate  between  white  and  black,  fo  alfo  does  the 
chromatic  genus  obferve  the  medium  between  the  rarenefs  of  the 
diatonum  and  the  thieknefs  of  the  harmonia.  The  Harmonia  or 
Enarmonium  proceeded  by  a  ditone,  a  dicfis,  and  dielis  towards  the 
grave,  and  becaufe  the  diefes  are  thicker  than  the  femitones,  this  ge- 
nus, which  is  the  thickeft  of  the  three,  was  termed  the  Enarmonium, 
as  being  the  beft  coadapted,  and  the  mofl:  abfolute  of  them  all  *. 
*  Nor  did  the  ancients  proceed  any  farther  in  the  conftitutlon  of 
the  genera  than  is  above  related,  becaufe  in  it  no  harmonical  interval 
lefs  than  that  of  adiefis  is  difcoverable  except  the  comma,  which  is 
common  to  all  the  three  ;  and  though  they  may  all  feem  (Q^agree 
in  dividing  the  diateflaron  into  three  intervals  in  every  genus,  yet  is 
there  not  one  of  thofe  who  have  written  on  this  fubje(fl  that  does^ 
not  differ  from  the  reft  in  determining  the  proportions  of  the  feveral 
intervals  that  conftitute  it ;  for  Pythagoras,  Archy tas,  Philolaus,  Era- 
tofthenes,  and,  in  a  word,  all  the  writers  on  this  branch  of  the  fcience 
have  affigncd  to  it  different  ratios  all  equally  repugnant  to  harmoni*. 
cal  truth.  Thofe  who  are  defirous  of  more  particular  information, 
may  confult  Boetius,  book  III.  chap.  v.  and  Ptolemy,  book  II.  to- 
wards the  end.  The  moft  celebrated  mode  of  generical  divifion  was 
undoubtedly  that  of  Pythagoras,  which  conftituted  the  diatonic  dia- 
teffaron  of  two  tones,  both  in  a  fefquiodave  ratio,  and  that  interval 
which  was  wanting  to  complete  it,  but  this  we  have  neverthelefs 
{hewn  to  be  erroneous  in  the  eleventh  chapter  of  the  fecOnd  book  of 

*  Lib.  III.  cap.  I.  pag.  loi. 
I  «  thi8 


Chap.9.      AND    PRACTICE    OF    MUSIC.  147 

*  this  work,  where  we  have  treated  of*  the  ditone  and  greater  femitone» 

*  feeing  that  both  the  ditone  and  lelTer  femitone  or  Jimma  are  both 
«  abhorrent  to  harmony,  as  is  demonftrated  by  Ptolemy,  and  appears 

*  from  rcafon  itfelf.     The  divifion  of  Ariftoxenus  was  efteemed  the 

*  next  after  this  of  Pythagoras,  to  which  it  was  contrary  in  almofl 

*  every  thing,  for  Arifloxenus  thought  it  agreeable  in   the   diatonic 

*  genus  to  proceed  not  only  by  equal  tones,  but  alfo  in  the  chroma- 

*  tic  to  proceed  by  two   equal  femitones,  and  in   the  enarmonic  by 

*  two  equal  dicfes.     A  third  divifion,  that  of  Didymus  and  Ptolemy, 
<  made  neither  the  tones  nor  femitones  equal,  but  conftituted  a  greater 

*  and  lefTer  of  each  *. 

*  The  genera  can  neither  be  more  nor  fewer  than  three,  becanfc 

*  that  is  the  number  of  the  lefTer  intervals  whereby  they  are  diftin- 

*  guifhed  from  each  other.     In  the  diatonic  the  lead  interval  is  the 

*  greater  femitone  5  in  the  chromatic  the  lefTer  ;  and  in  the  enarmo- 

*  nic  the  diefis  j  and  as  the  diefis  is  the  leafl  of  all  the  intervals  that 

*  can  vary  the  genus,  it  follows  that  the  enarmonic  muft  be  the 

*  thickeft  of  them  all ;  and  the  reafon  why  the  diatefTaron  was  chofen 

*  as  the  fitteft  of  the  confonances  to  adjuft  the  feveral  genera  by,  was 

*  not  becaufe,  as  the  ancients  alTert,  it  was  the  fmallefl  of  the  con- 

*  fonances,  for  that  it  certainly  is  not,  but  becaufe  all  thofe  intervals 

*  which  arife  from  the  firfV  divifion  of  the  lowefl  confonances,  were 

*  found  once  in  the  diatefTaron,  fuch  as  the  greater  tone,  the  lefTer 

*  tone,  and  the  greater  femitone  -,  for  the  greater  and  lefTer  tone  arife 

*  from  the  firft  divifion  of  the  ditone,  and  the  greater  tone  and  lefTer 

*  femitone  from  the  firfl  divifion  of  the  femiditone  -,  but  if  thefe  were 

*  refpedively  added,  the  one  to  the  former  and  the  other  to  the  lat- 

*  ter,  the  complement  would  be  a  diatefTaron  confifting  of  three  in- 

*  tervals  and  four  founds,  wherefore  the  conflitution  of  the  genera  is 

*  not  to  be  found  in  any  of  thofe  lefs  fyflems  than  the  diatefTaron  ;  on 

*  the  contrary,  in  the  greater  confonants,  fuch  as   the  diapente  and 

*  diapafon,  we  meet  with  a  repetition  of  thcfe  three  feveral  intervals, 
«  for  in  the  diapente  the  greater  tone  is  found  twice,  and  in  the  dia- 

*  pafon  three  times,  and  the  lefTer  tone  and  greater  femitone   are 

*  found  twice  in  the  diapafon  ^,* 

*  Lib,  III.  cap.  i.  pag.  i02.  f  Lib*  III.  cap.  ii. 

U  2  Although 


148  HISTORY    OF    THE    SCIENCE       Book  I. 

Although  Salinas  has  laboured  to  explain  the  meaning  of  the  terms 
fpifTum  and  non  fpiffum,  which  fo  frequently  occur  in  the  writings 
of  the  ancients,  and  which  are  ufed  to  exprefs  a  diftinguilhing  pro- 
perty of  the  genera,  he  profeffes  to  ufe  the  epithet  fpiffum  in  a  fenfc 
different  from  that  in  which  it  was  accepted  by  them  :  they  called 
that  conftitution  fpiffum,  or  thick,  where  the  acuteft  interval  was 
greater  than  the  other  two,  as  in  the  chromatic  and  enarmonie ;  and 
they  called  that  non  fpiffum,  in  which  the  two  grave  ones  taken  to- 
gether were  greater  than  the  acute,  as  in  the  diatonic.  *  But  we, 
fays  this  author,  *  maintain  that  genus  not  to  be  thick  wherein  the 

*  confonants  are  found  intermediated  with  thinner  and  fewer  inter- 
'  vals,  of  which  fort  is  the  diatonum,  in  which  the  confonants  are 

*  interfeded  by  tones  and  a  greater  femitone,  which  are  the  thinneft 
'  of  all  the  leffer  intervals :  the  diateffaron,  for  example,  is  divided 

*  into  three  intervalsj  on  the  contrary  we  fay  that  that  genus  is  thick 

*  in  which  all  the  confonants  are  interfered  by  thicker  and  more  clofe 

*  intervals  -,  fuch  is  the  chromatic,  which  proceeds  by  a  greater  and 

*  leffer  femitone,  which  are  thicker  intervals  than  tones,  and  in  the 
«  compofition  of  a  pcrfedt  inftrument  divides  the  diateffaron  into  fix 
«  intervals  and  feven  founds,  but  according  to  that  which  we  ufe,  the 

*  divifion  is  into  five  intervals  and  fix  founds,  for  the  trihemitone  is 
«  not,  as  the  ancients  would  have  it,  an  interval  of  this  genus,  feeing 

*  it  is  truly  a  confonant,  and  confonants  are  not  the  intervals  of  any 

*  genus*.  But  the  thickeft  of  the  genera  is  the  enarmonie,  becaufe 
-«'  it  .proceeds  by  leffer  femitones  and  diefes,  which  are  indivifible  in- 

*  tervals  j  nor  can  the  ditone  be  faid  to  be  an  interval  of  this  genus, 

*  although  as  well  the  ancient  writers  as  thofe  of  later  times  affert  it 
«  to  be  fo,  becaufe  it  is  a  true  and  perfed  confonant,  andj  like  all 
'  the  reft,  requires  to  be  filled  up,  wherefore  in  this  genus  the  diatef- 
<  faron  will  have  -bine' intervals  and  ten  founds. 

*  The  conftitution  of  all  the  genera  is  not  to  be  fought  for  in  the 

*  divifion  of  the  diateffaron,  it  is  only  in  the  diatonic  that  this  method 
«  is  to  be  taken,  for  the  intervals  by  which  it  proceeds  are  not  to  be 

*  Here  Salinas  cautions  his  reader  not  to  be  difturbed  that  the  DIateflaron,  which  takes 
its  name  from  the  number  four,  and  is  therefore  underftood  to  confift  of  fo  many  founds, 
{hould  here  be  faid  to  contain  fix  inteivals  and  feven  founds,  for  that  circumftance  he  fays 
is  peculiar  to  the  diatonic. 

t  Lib.  III.  cap.  ii, 

'  found 


Chap.  9-    AND    PRACTICE    OF    MUSIC.  14^ 

found  in  any  lefTer  confonant.  But  to  difcover  the  conftitution  of 
the  chromatic  we  affert  that  the  divifion  of  the  greater  tone  is  fuf- 
ficient,  becaufe  all  the  intervals  by  which  this  genus  proceeds  are 
to  be  found  once  therein.  For  the  confideration  of  the  enarnionic 
genus  the  greater  femitone  is  fufficient,  for  in  that  are  all  the  inter- 
vals to  be  found  through  which  this  genus  proceeds  j  all  this  is 
the  effedt  of  the  great  and  wonderful  conftitution  of  the  harmonica! 
ratio.  The  diateflaron  feems  to  have  been  aflumed  for  difplaying 
the  diatonic  genus,  becaufe  it  is  the  excefs  of  the  diapafon  above 
the  diapente  :  the  tone  by  which  we  explain  the  chromatic  is  the 
excefs  of  the  diapente  above  the  diateflaron,  and  the  greater  femi- 
tone by  which  we  declare  the  enarmonic  is  the  excefs  of  the  diatefla- 
ron above  the  ditone.  Moreover  it  is  neceflTary  to  know  that  the 
three  genera  fland  in  the  relation  to  each  other  of  good,  better,  and 
befl:  J  for  as  good  can  exift  by  itfelf,  but  better  cannot  be  without 
good,  fo  may  the  diatonic  exifl:  alone,  and  become  the  foundation 
of  the  others,  as  is  feen  in  the  Cythara,  wherein  are  no  femitones 
but  the  greater,  in  which  this  genus  abounds,  for  the  lefler  femi~ 
tones  are  proper  to  the  chromatic. 

*  But  although  the  diatonic  be  the  mofl:  natural,  yet,  as  Boetius 
fays,  it  is  the  hardeft  of  the  three,  and  to  foften  or  abate  of  this 
hardnefs  w^s  the  chromatic  invented,  and  yet  the  chromatic  could 
not  have  exifted  without   the  diatonic,  it  being  nothing  elfe  than 
the  diatonic  thickened  ;  and  fuch  does  that  conftitution  appear  to 
be  which  we  find  in  thofe  inftruments  that  are  ftruck  with   black 
and  white  pledtra.     As  to  the  enarmonic,  it  is  clear  that  it  cannot 
fubfift  by  itfelf,  and   being  a  compound  of  the  other  two,  it  is  the 
thickeft,  beft  compaded,  and   moft   perfe(5t  j  and  no  one  can  be- 
lieve that  any  modulation  could  be   made  in  either  the  chromatic, 
or  enarmonic  feparated  from  the  diatonic,  feeing  it  is  impoilible  to. 
proceed  without  it  through  the  chromatic  or  enarmonic  intervals^ 
and  this  is  not  only  fhewn  by   Ptolemy,  but  it  is  evident  both  ta 
fenfe  and  reafon  *.' 
The  notion  which  Salinas  entertained  of  the  genera  was  that  the, 
chromatic  was  the  diatonic  infpiffated  j  and  that  the  enarmonic.  was. 
the  chromatic  inTpilTated,  and  in  all  his   reafoning   about    them   be 
fuppofes  a  neceflity  in  nature  for  filling  up  thofe  fpaces  or  chafins,  a& 

♦  Lib.  III.  cap.  ii. 

be 


150  HISTORY    OF    THE    SCIENCE       Book  I. 

he  affecfts  to  confidcr  them,  which  the  difference  between  the  greater 
and  lefTer  intervals  in  the  diatonic  tetrachord  feems  to  imply. 

Of  the  feveral  fpecies  of  the  diatonic  Salinas  fcruples  not  to  pre- 
fer the  fyntonous  or  intenfe  of  Ptolemy,  and  fays  that  if  Plato  had 
been  fenfible  of  its  excellence,  he  would  not  have  been  fo  torment- 
ed as  he  was,  at  finding  that  the  Pythagorean  limma  256  to  243 
was  not  fuperparticular,  and  therefore  not  in  truth  a  proportion,  but 
rather,  as  he  is  forced  to  term  it,  a  portion,  i.  e.  a  partiole  or 
fradion  ** 


CHAP.         X. 


IN  the  fifth  chapter  of  his  third  book  Salinas  (hews  the  method  of  con- 
flrutfling  the  type  of  the  diatonic,  which  he  does  by  fuch  a  divi- 
fion  of  the  monochord  as  gives  d  d  in  the  ratio  of  each  to  the  other 
of  81  to  80,  making  thereby  the  one  a  tone  minor,  and  the  other  a 
tone  major  above  c  ;  the  former  of  thefe  he  calls  d  inferior,  and  the 
latter  d  fuperior,  this  diftindtion  he  obferves  in  the  fucceeding  types 
of  the  chromatic  and  enarmonic;  that  of  the  diatonic  is  as 
follows : 

144         135  120  108  96       90  81,80     72 

EF  G  a  bcdde 


II  I  I  I     I 


■  iwiw^Milnii  'i     I   >i 


6-—— 5 4 

I  o- —     '     g   ■  ""  '  - 8 

1 2  *— *— 0=^—- -*^i  o— — «**- 9 

Of  the  Chromatic  he  fays,  chap.  vi.  that  it  arofe  from  that  divifion 
of  the  tone  which  was  invented  to  foften  the  harfhnefs  of  the  tritonus 

*  Lib,  m.  cap.  iii.  pag.  107. 

between 


Chap.  I o.     AND    PRACTICE    OF    MUSIC.  151 

between  F  and  ti ;  and  in  chap.  vii.  he  diredls  by  the  diviiion  of 
the  monochord  the  conftru(flion  of  the  type  of  the  chromatic  genus. 

As  in  the  diatonic  divifion  he  gives  d  inferior  and  d  fuperior,  fo  in 
this  of  the  chromatic  does  he  give  F#  inferior,  and  F#  fuperior,  and 
alfo  b  inferior  and  b  fuperior,  befides  G#,  c#,  and  e  b  diftinguifhed  by 
the  fhort  or  different  coloured  pledtra  on  the  organ,  harpfichord,  and 
other  inftruments  of  the  like  kind. 

The  following  is  the  type  of  the  chromatic  genus  according  to  this 
author. 


0. 

Xi 

«  0 

0 

'*' 

00, 

0 

cr>sO 

0 

0 

QO 

r^ 

vo  10 

'^ 

ro 

rt 

ct 

cs  « 

w 

« 

E 


## 


G      # 


o 

NO 


a 


wo        c«J 
00       0^ 


Q         00 

00       f^ 


00        00 

oJ   O  O      '«** 


bb    ti       c     #         dd      eb  e 


I 

_ 

1 

I 

1 

27  0  2524 

' 

6 

5 

4 

20         0       18              0        16        15 

5                                         4 

3 

[                                          16             15         0            0                   12 

18 


16 


^5 


In  the  eighth  chapter  of  the  fame  book  Salinas  remferks  that  the 
charadteriftic  of  the  chromatic  is  its  leafl:  interval,  which  is  a  leiTer 
femitone,  and  is  therefore  called  the  chromatic  diefis,  and  is  the  dif- 
ference whereby  the  lefTer  tone  exceeds  the  greater  femitone.  The 
type  above  given  is  exhibited  in  the  feventh  chapter,  with  this  re- 
mark, that  in  it  the  lefTer  femitone  or  chromatic  diefis  is  found  five 
times,  that  is  to  fay,  between  F  and  F;^  inferior,  G  and  G^y  b  fu- 
perior and  b,  c^  and  c,  and  eb  and  e. 

In  the  fame  chapter  he  treats  of  the  Enarmonic  genus,  which  he. 
fays  is  the  moft  perfed:  of  all,  as  containing  in  it  the  other  two;   the 
following  is  the  type  of  the  enarmonic  as  given  by  him.. 


'5^ 


HISTORY    OF    THE    SCIENCE      Book  I. 


o 
o 

so 


o 
o 

P4  O 


O  O  vo  O 
«i-  O  M  O 
OO  (S  sD  O 
-  w  O  o 
»0  vr»  ^O  VI 


O 
O 
O 
CO 


o 
o 

'4- 


o 
o 
o 
to 


o 
o 


CJ  o  o  o 

t^\D  C  O 
-^h  O  «'>  O 
H-  o  o  o 
t*-  -^  ^  ^ 


o 
o 

-*• 
oo 


sO 

C» 

CO 


o  o 

o  ^o 

O    i/^ 
ro  fO 


O   O  O  O   O    O 

vr,  O  O  o)    O     O 

r^  ■<:}-  O  r^  O  OO 

CO  <s  N  O    O  OO 

CO  PO  OO  ro  CO  cs 


E      #F      ##bbG      #ab     a      ##bbh#c#dbdd  d#eb  c 


1 

1    1  1 

i    1 

6 

1 

'   5 

.  .  1    4  . 

•    •  5 

1 

4   «  0 

'  •  1    3- 

15 

00      12   I  0 

1  10  1     1 

6 

•  5 

4 

1 

i 

• 

5      •  •         4 

1       3 

1 

I  12     0      0       98 

16     15    0    •       12        [ 

15    0   0        12     0    10 

Upon  which  it  is  to  be  remarked,  that  the  true  enarmonic  in- 
tervals are  diflinguiQ}ed  from  the  diatonic  by  a  point  placed  over 
them. 

As  he  had  noted  the  chromatic  by  its  diefis,  which  is  the  interval 
of  a  lefler  femitone,  fo  has  he  remarked  that  the  charadleriftic  of  the 
enarmonic  is  the  enarmonic  diefis,  which  arifes  from  a  divifion  of 
tlie  greater  femitone  into  a  lefler  femitone  and  a  diefis  thus  : 


GREATER     SEMITONE. 


Chromatic  Diefis 


Enarmonic  Diefis 


120 


125 


128 


which  leflet  femitone,  by  the  way,  is  no  other  than  the  chromatic  die- 
fis, and  in  its  lowed  numbers  is  25  to  24.  As  to  the  enarmonic  die- 
fis, its  ratio  is  above  demonftrated  to  be  1 28  to  1 25,  and  it  is  the  inter- 
val between  ¥^  inferior  and  G  b  inferior,  that  is  to  fay,  between  the 
numbers  51840  and  50625,  which  are  in  the  ratio  of  128  to  125,  for 
51840  contains  the  number  405,  128  times,  and  50625  contains  the 
fame  number  405,  125  times.  It  is  again  found  between  a|:  infe- 
rior 


Chap.  JO.      AND    PRACTICE    OF    MUSIC.  153 

rior  and  b  Inferior,  that  is  to  fay,  between  the  numbers  41472  and 
40500,  for  the  former  of  thefe  contains  the  number  324,  128  times, 
and  the  latter  contains  the  fame  number  125  times.  The  enarmo- 
nic  diefis  is  elfewhere  to  be  found  In  the  above  divifion  of  the  dlapa- 
fon  in  three  inftances,  but  the  two  above  given  are  fufficient  to  make 
it  known. 

It  was  necefTary  to  be  thus  particular  In  the  reprefentation  of  Salinas's 
fyftem  of  the  genera,  more  efpeclally  the  enarmonic  genus,  becaufe  he 
himfelf  appears  to  be  fo  confident  of  his  fkill  in  this  abflrufe  part  of 
the  mufical  fcience,  that  he  fcruples  not  to  reprehend  very  roundly 
the  Greek  writers  for  miftakes  about  the  genera  ;  and  fpeaking  of  his 
divifion  of  the  enarmonic,  he  fays,  that  if  it  be  made  as  by  him  is  di- 
reded,  nothing  in  harmonics  can  be  more  abfolutely  juil  and  perfed:. 
Jt  Is  pofitlvely  afi^erted  by  Dr.  Pepufch,  in  his  letter  to  Mr.  De  Moi- 
vre,  that  Salinas  has  determined  the  enarmonic  accurately  :  and  it  is 
more  than  probable  that  thofe  are  in  the  right  that  think  fo. 

The  diagrams  made  ufe  of  by  Salinas  to  illufi:rate  his  dodrlne  of 
the  genera,  more  efpecially  the  types,  as  he  calls  them,  of  each,  are 
moft  aftonlfhlngly  complicated,  but  very  curious  and  fatisfadory.  It 
is  to  be  remarked  on  this  part  of  his  work,  that  he  meddles  not  with 
the  colours  or  fpecies  of  the  genera.  Of  the  diatonic  he  has  taken 
the  fyntonous  or  intenfe  of  Ptolemy,  and  In  his  defcriptlon  of  the  chro- 
matic he  has  given  a  reprefentation  which  coincides  with  no  one  fpe- 
cies of  that  genus,  for  It  is  neither  the  foft,  the  hemiolian,  nor  the 
toniac,  but  feems  to  be  a  divifion  of  his  own.  As  to  the  enarmonic, 
it  is  well  known  that  it  admitted  of  no  diflindlon  into  fpecies. 

That  Salinas  had  any  defire  to  refi:ore  the  ancient  genera  is  not  to 
be  inferred  from  the  great  labour  he  has  befl:owed  in  the  explanation 
of  them.  He  indeed  feems  to  have  been  very  felicitous  to  attemper 
fome  of  the  hardier  intervals  in  the  diatonic  ferles,  and  for  that  pur- 
pofe  to  have  made  an  arrangement  of  the  white  and  black  pledira,  as 
he  calls  them,  a  little  differing  from  the  ordlnar^y  one  ;  and  fays  that 
he  had  with  him  at  Salamanca  an  inftrument  which  he  had  caufed  to 
be  made  at  Rome,  wherein  the  tone  between  G  and  a  is  accurately 
divided.  But  the  pains  he  has  taken  to  afcertain  the  true  divifion  of 
the  chromatic  and  enarmonic  feems  to  be  refolvable  into  that  eager 
defire  of  rendering  the  writings  of  the  ancient  Greeks  Intelligible, 
which  he  uniformly  manifefts  in  the  courfe  of  his  writings. 

Vol.  III.  X  Seeing 


154  HISTORY    OF    THE    SCIENCE      Book  I. 

Seeing  then  that  the  world  is  in  pofTeffion  at  laft  of  the  true  enar- 
monic,  it  remains  to  be  confidered  whether  it  muft  not  at  all  times 
have  been  a  matter  rather  of  fpeculation  than  pradice.  Were  we  to 
think  with  the  ancients,  and  adopt  their  reafoning  about  the  fpiffum 
and  non  fpiffum,  we  fliould  fay  that  that  feries  of  harmonical  pro- 
greffion  which  admitted  of  the  fmalleU:  intervals,  and  left  the  feweft 
chafms  in  the  fyftem,  approached  the  neareft  to  perfedion  ;  but  this 
is  a  confideration  merely  fpeculative,  and  has  as  little  to  do  with  the 
fenfe  of  hearing  as  the  external  form  of  any  given  mufical  inftrument 
with  the  hearing  whereof  we  are  delighted. 

On  the  other  hand,  let  any  one  make  the  experiment,  and  try  the 
effed  of  fuch  intervals  as  the  enarmonic  diefis,  as  above  afcertainedj 
on  his  ear,  and  he  wiil  hardly  be  perfuaded  that  the  genus  to  which 
it  belongs  could  ever  have  been  cordially  embraced  by  the  unpreju- 
diced part  of  mankind 

To  favour  the  opinion  that  it  was  never  received  into  general  prac- 
tice, we  have  the  teftimony  of  fome  of  the  ancient  writers  themfelves, 
who  exprefsly  fay  that  on  account  of  their  intricacy  both  the  chro- 
matic and  enarmonic  grew  very  early  to  be  difefteemed  by  the  pub- 
lic ear,  and  gave  way  to  that  orderly  progrefiion  the  diatonic,  which 
nature  throughout  her  works  feems  to  recognize  as  the  only  true  and 
juft  fucceffion  of  harmonical  intervals. 

In  the  thirteenth  and  fubfequent  chapters  of  his  third  book  Salinas, 
treats  of  the  temperament  of  the  organ  and  other  inftruments.  He. 
fays  of  the  human  voice  that  it  is  flexible,  and  being  direded  by  that, 
fenfe  of  har-mony  which  is  implanted  in  us,  it  chufes  and  conftitutes 
that  which  is  perfed,  and  preferves  the  confonants  and  theleller  in- 
tervals in  their  due  proportions,  no  impediment  intervening.  Farther 
he  fays  that  it  difcriminates  with  the  greateft  exadnefs  between  the 
greater  and  the  lefler  tone,  and  that  as  the  melody  requires,  it  chufes 
either  the  one  or  the  other  j  but  in  the  organ  and  other  inftruments 
where  the  founds  are  fixed,  and  are  not  determined  by  the  touch  of 
the  performer,  he  fays  that  the  tones  are  of  neceffity  equal,  and  that 
this  equality  is  preferved  by  the  diflribution  of  the  three  commas,  by 
which  the  three  greater  tones  in  the  diapafon  exceed  the  lefler  onesj 
fo  that  by  this  diftribution  the  confonants  and  lelTer  intervals  partici- 
pate of  that  diiTonance  which  in  fome  part  of  the  i}^fLem  or  other  is 
occafioned  by  the  comma. 

The 


Chap.  I o.     AND    PRACTICE    OF    MUSIC.  155 

The  fyftem  thus  attempered  is  called  by  the  Italians  Syftema  Parti- 
cipato.  It  is  mentioned  in  a  preceding  chapter  of  this  work,  and  is 
defcribed  by  Zarlino  in  his  Iftitutioni  Harmoniche,  part  II.  cap.  xli. 
et  feq.  *  Salinas  fays  he  himfelf  when  a  youth  at  Rome,  invented 
a  Syftema  Participato,  in  nothing  differing  from  that  publiflied  by 
Zarlino,  which  he  fays  is  not  to  be  wondered  at,  feeing  that  truth  is 
but  one  and  the  fame,  and  that  it  prefents  itfelf  to  all  that  rightly  en- 
deavour to  in  veftigate  it -f*. 

The  fertility  of  Salinas's  invention  fuggefted  to  him  various  other 
temperaments,  which  he  has  defcribed  with  his  ufual  accuracy.  After 
ftating  and  comparing  them,  and  giving  the  preference  to  the  firft, 
he  proceeds  in  chap,  xxvii.  to  (liew  the  bad  conftitution  of  a  certain 
inftrument  begun  to  be  conftruded  in  Italy  about  forty  years  before 
the  time  of  writing  his  book,  tha  is  to  fay  about  the  year  1537,  con- 
cerning which  he  fays  that  this  inftrument  was  called  Archicymba- 
lum,  and  that  it  divided  each  of  the  tones  into  five  parts,  giving  to  the 
greater  femitone  three,  and  to  the  leffer  two;  he  fays  that  this  inflru- 
ment  was  much  efteemed,  and  was  made  ufe  of  by  fome  muficians  of 
great  eminence.  He  fays  that  as  the  diapafon  contains  fix  tones  and 
adiefis,  it  divided  the  odtave  into  thirty-one  parts  J;  but  that  they  are 
diefes  he  abfolutely  denies.  He  then  proceeds  to  point  out  the  defeds 
of  this  inftrument,  and  pronounces  of  it,  that  it  was  offenfive  to  his 
€ar,  and  was  not  conftrutfted  in  any  truly  harmonical  ratio  ^. 

*  Bontempi  has  given  a  fyftem  of  another  form,  which  he  calls  Syftema  Participato, 
from  Its  comprehending  the  diatonic  and  chromatic,  hut  it  feenis  to  be  no  other  than  that 
now  in  pradice,  in  which  the  diapafon  is  divided  into  twelve  femitones.  Vide  Bent. 
Hift.  Muf.  pag.  187. 

t  De  Mufica,  lib.  III.  cap.  xiv.  Dr.  Smith  fays  that  Salinas  was  the  firfl  inventor  of  a 
temperament,  and  that  both  he  and  Zarlino  laid  claim  to  the  honour  of  the  invention, 
and  had  a  difpute  about  it.  Harmonics,  pag.  37,  in  a  note.  But  this  is  hardly  reconcile- 
able  with  the  declaration  of  Salinas  above  mentioned,  which  ferns  to  imply  an  inclination 
in  him  rather  to  wave  than  promote  a  difpute. 

X  Dr.  Pepufch  in  his  letter  to  Mr.  De  Moivre,  herein  before  cited,  fays  that  this  divi- 
fion  of  the  otlave  into  thirty- one  parts  was  necefTarily  implied  in  the  doiflrlne  of  the  an- 
cients ;  and  that  though  the  inftrument  above-mentioned  w  as  condemned  both  by  Zarlino 
and  Salinas,  they  condemned  it  without  fufficient  reafon,  for  that  Mr.  Huygens  having 
more  accurately  examined  the  matter,  found  it  to  be  the  bcft  temperature  that  could  be 
contrived. 

H  There  cannot  be  the  lead  doubt  but  that  the  Inflrument  above  fpoken  of  Is  the  Archi- 
ccmbalo  of  Don  Nicola  Vicentino,  though  Salinas  confefTes  himfelf  at  a  lofs  who  to 
afcribe  the  invention  of  it  to.  Merfennus  once  thought  it  was  invented  by  Fabius  Co- 
lumna.  Harmonic,  lib.  VI.  De  Generibus  et  Mcdis,  Prop.  xiii.  From  thefe  two  particu- 
lars it  may  be  inferred  that  neither  Salinas  nor  he  had  ever  ken  Vicentino's  book ;  but  it 
feems  that  Merfennus  was  fet  right  in  his  divifion  by  the  pcrufal  of  Salinas,  and  that  he 
has  made  ample  amends  for  his  miftake  by  giving  the  thirty-one  intervals  with  their  ratios 
as  here  rcprefented.    As  to  the  divifion  of  Fabius  Columna,  it  was  probably  borrowed 


156 


HISTORY    OF    THE    SCIENCE      Book  I:. 


In  the   twenty-eighth  and   four  fubfequent  chapters  of  his  third 
book  he  takes  occafion  to  fpeak  of  the  lute,  viol,  and  organ,  and  of  cer- 

from  this,  but  it  was  into  thiity-nine  founds  and  thirty-eight  intervals,  and  will  be  fpokeo; 
of  hereafter.     Vide  Merfenn.  Harm.  Univ.  Des  Genres  de  la  Mufique,  Prop.  x.  xi,. 


32 

3' 

30 
29 

28 
27 
26 

25 

24 

23 
22 
21 

20 

9 
8 

7 
6 

5 
4 
3 
2 
I 
o 

9 

8 

7 
6 

5 
4 

3 
2 


cl 


•B 
B 

•Xa- 
Xa 
A 
A 

•xg- 

:Xg 

G 

=xg 
*xf 

xf- 

•F 

J 

•^e 

xe- 

•E 

E- 

•xd- 
xA 

•D 
D 

xc 
C- 


K 
-& 


0 


144000 

lefltr  femltone 
,138240 

diefis 

1 3  50QO 

lefler   femitone 

129600 

greater  comma 

126000 

leffer  femitone 
_i0288o 

lefler  comma 

12 1 500 

greater  comma 
.120000 

femitonium  fubmlnimutn  ♦ 

1 16640 

greater  comma 

_II5200 

lefler  femitone 

110592 

lefler  comma 
-109350 

greater  comma 

J08000 

lefler  femiton* 
-1036S0 

greater  comma 

102400 

lefler  comma 
-101250 

greater  comma 

1000;  o 

femitonium  fubminlmum 
-97200 

greater  comma 

96000 

lefler  femitone 
"92160 

lefler  comma 

91105 

greater  comma 
"90000 

fcTiitonium  fubminlmu.'n 

87480 

86400  8'--"'^'"» 
"lefler  femitone 

82944 

greater   comma 

81920 
'iefier  comma 

Sioeo 

oreater  comma 

8  c  000 
'femiionium  fubminlmum 

777f=o 

ere::ter  comma 

768CO 

lefler  femitone- 

73728 

diefiJ 

72CCO 


*  Tounderftand  the  nature  of  this  intervali. 
it  is  neceffary  to  know  that  of  femitones  there 
are  many  kinds.  Merfennus  has  enumerated 
them  in  this  Latin  work,  liber  V.  De  Diflb- 
nantiis,  prop.  xiii.  but  more  particularly  in  his 
HarmonieUniverfelle,  Des  Diffonances,prop. 
ii.  pag.  116:  they  appear  to  be  the  Semito- 
nium  maximum  |-|-»  Semitonium  majus  t|,. 
Semitonium  medium  4-It>  Semitonium  Pytha- 
goricum  ^^,  Semitonium  minus  |-|-,  Semito- 
nium minimum  ||^|,  and  laflly,  the  Semito- 
nium fubminimum  above  given,  which  in  its 
lovveft,  or  radical  numbers,  will  be  found  to 
be  in  the  ratio  of  250  to  243,  for  in  120000 
the  number  480  is  found  250  times,  and  in 
1 16640  it  is  found  243  times,  in  1 00000  the 
number  400  is  found  250  times,  and  in  97200 
it  is  found  243  times:  in  90000  the  num- 
ber 360  is  found  250  times,  and  in  87480  it 
is  found  243  times.  Laftly,  in  80000  the 
number  320  is  found  250  times,  and  in  77760 
it  is  found  243  times.  It  is  to  be  noted  that 
in  the  Harmonie  Univerfelle,  livre  troifieme, 
pag.  167,  and  in  that  curious  diagram  preced- 
ing it,  the  number  87930  is  miflaken  for 
87480.  The  Semitonium  fubminimum  is  an. 
interval  lefs  than  the  chromatic  diefis  by  a. 
comma.  Merfen.  Harm.  lib.  V.  prop.  ix. 
Harm.  Univ.  Des  Diflbiiances,  prop.  U.  pag., 

H5- 


Urn 


Chap.io.     AND    PRACTICE    OF    MUSIC.  157 

tatn  temperaments  the  befl:  adapted  to  each.  In  the  former  he  fays 
that  although  the  viol  by  name  is  not  to  be  met  with  in  the  writings 
of  the  ancients,  yet  Cafliodorus  aflerts  that  it  is  to  be  found  defcribed 
among  their  different  kinds  of  Cythara  ;  and  he  himfelf  adds  that  in 
the  works  of  Bede,  an  author  fufficiently  celebrated,  it  is  exprefsly 
mentioned. 

The  eighth  chapter  of  the  fourth  book  contains  among  other 
things  the  dodrine  of  the  modes,  in  the  difcufling  whereof  he  feems 
to  agree  with  Glareanus  that  they  are  in  number  twelve,  and  that 
they  anfwer  to  the  feven  fpecies  of  diapafon  harmonically  and  arith- 
metically divided  j  but  as  the  third  fpecies  proceeding  from  t]  is  in- 
capable of  an  harmonical  divifion  as  wanting  a  true  fifth,  and  the 
feventh  fpecies  proceeding  from  F  is  incapable  of  an  arithmetical  di- 
vifion  as  having  an  exceflive  fourth,  the  number  of  the  modes,  which 
would  otherwife  be  fourteen,  is  reduced  to  twelve,  which  is  the  very 
pofition  that  Glareanus  in  his  Dodecachordon  endeavours  to  de- 
monftrate. 

In  the  tenth  chapter  is  a  diagram  reprefenting  in  a  collateral  view 
the  tetrachords  of  the  ancients  conjoined  with  the  hexachords  of 
Guido  Aretinus,  and  (hewing  how  the  latter  fpring  out  of  the  former. 
Dr.  Wallis  has  greatly  improved  upon  this  in  the  diagram  by  him 
inferted  in  his  Appendix  to  Ptolemy,  and  which  is  given  in  the  firfl 
volume  of  this  work,  exhibiting  a  comparative  view  of  the  ancient. 
Greek  fyftem  with  the  fcale  of  Guido. 

In  the  twenty-fecond  chapter  he  takes  notice  of  the  ancient  divi- 
fion  of  the  genera  into  fpecies,  but  it  feems  that  he  did  not  approve 
of  it,  for  in  his  own  divifion  of  the  genera  he  has  rejeded  it,  thereby 
making  that  fpecies  of  each,  whatever  it  be,  v/hich  he  has  chofen  for 
an  exemplar,  a  genus  of  itfelf. 

In  the  twenty-third  chapter  he  undertakes  to  fhew  the  errors  of 
Ariftoxenus  in  a  manner  different  from  Ptolemy  and  Boerius,  and  in 
the  five  following  chapters  cenfures  him,  and  even  Ptolemy  himfelf,. 
with  a  degreeof  freedom  which  (hews  that  though  he  entertained  a  re- 
verence for  the  ancients,  he  was  no  bigot  to  their  opinions,  butaffumed 
the  liberty  in  many  inflances  of  thinking  and  judging  for  himfelf. 

In  the  twenty-ninth  chapter  of  the  fame  fourth  book  he  commends 
in  general  terms  Jacobus  Faber  Stapulenfis,  though  he  feems  to  fufped:- 
that  he  had  never  red  Ptolemy,  nor  any  other  of  the  Greek  harmoni- 

ciansj. 


158  HISTORY    OF    THE    SCIENCE      Book  I. 

cians,  and  fays  he  does  nothing  more  than  demonftrate  the  propor- 
tions of  Boetius. 

Tlie  fubfequent  chapter  contains  his  opinion  of  Franchinus  and  his 
writings,  which  he  deUvers  in  the  following  words  : 

'  Franchinus  GafFurius  was  a  famous  profelTor  of  theoretical  and 
pradical  mufic,  and  publiflied  feveral  works  and  wrote  many  things 
in  both  parts  worthy  to  be  known.  He  boafts  that  by  his  care 
and  at  his  expence  the  three  books  of  Ptolemy's  Harmonics,  the 
three  of  Ariftides  Quintilianus,  and  the  three  of  Manuel  Briennius 
were  tranflated  from  the  Greek  into  the  Latin.  It  is  true  he  red 
thofe  books,  as  he  fliews  in  his  works,  efpecially  in  that  which  he 
wrote  concerning  inftrumental  harmony,  where  he  recites  almoft: 
all  their  pofitions,  but  fo  confufedly,  that  he  feems  rather  to  have 
red  them  than  underftood  them.  But  thefe  Latin  tranflations  are  not 
extant  as  far  as  I  know,  perhaps  through  the  avarice  of  Franchinus 
himfeir,  who  had  them  made  only  for  his  own  ufe,  and  did  not  give 
them  to  be  printed,  imagining  that  a  time  never  would  come  when 
the  muficians  would  underrtand  the  Greek  language,  and  be  able  to 
read  thofe  authors  in  the  originals.  This  man  had  a  very  good  ge- 
nius, but  wanted  judgment,  for  he  recited,  or  rather  reckoned 
up,  the  pofitions  of  thefe  authors,  but  never  examined  them  in 
order  to  find  out  which  was  true,  or  came  nearell:  to  the  truth, 
but  left  them  all  untouched  ;  and  becaufe  Boetius  was  received  by 
all,  he  dared  not  to  contradidt  him  j  and  though  he  feems  in  fome 
inftances  to  agree  with  Ptolemy,  yet  dares  he  not  to  aflert  which 
of  the  two  he  thought  the  beft,  but  fometimes  is  drawn  on  this  . 
fide,  fometimes  on  that,  fo  that  nothing  certain  or  fixed  can  be 
had  from  him  :  for  fometimes,  to  favour  Boetius  and  the  Pythago- 
reans, he  fays  in  that  book  of  mufic  which  he  wrote  in  the  Italian 
language,  that  he  wondered  at  the  inadvertency,  as  he  calls  it,  of 
Ptolemy,  who  fays  that  the  diapafon  with  the  diatefi^aron  is  a  con- 
fonant  when  it  does  not  anfwer  either  to  a  multiple  or  fuperparticu- 
lar  proportion;  and  a  little  after  in  the  fame  book  he  afiumes  the 
fefquiquarta  and  fefquiquinta  of  Ptolemy,  to  conftitute  from  them 
the  greater  and  lelfer  third,  contrary  to  Boetius  and  all  the 
Pythagoreans.' 

In  the  thirty-firlt  chapter  he  delivers  his  fentiments  of  Glareanus 
in  thefe  words : 

'  Hen- 


Chap.  10.     AND    PRACTICE    OF    MUSIC.  r^g 

*  Henricus  Glareanus   was  a    man    excellently  verfed  in  all  good 

*  arts,  and  has  exhibited  to  the  world  feveral  fpecimens  of  his  learn- 

*  ing,  for  he   wrote  a   treatife  on  Geography,  not  lefs   ufcful  than 

*  concife  and  clear,  which  is  red  in  many  fchools ;  he  alfo  made 

*  notes  on  the  Odes  of  Horace,  replete  with  all  kind  of  erudition  ; 

*  and  as  to  what  concerns  mufic,  he  taught  it  in  three  books,  accord- 

*  ing  to  the  rule  of  the  ancient  modes,  as  he  himfelf  thinks,  which 

*  work   he  entitled  Dodecachordon.     In  it   he  has  gathered  many 

*  examples  both  of  the  fimple  cantus  and  that  of  many  forms,  which 
at  once  give  great  pleafure  and  profit;  and  though  he  never  wrote 
any  thing  of  fpeculative  mufic,  yet  he  confeffes  in  many  places  that 
he  had  applied  himfelf  too  much  to  it,  and  that  he  had  employed 
a  great  deal  of  time  in  the  fludy  thereof,  efpecially  in  the  reading 

*  of  Boetius,  which  he  manifcftly  (hews  in  a  preface  really  long 
enough,  published  with  that  work,  in  which  he  mentions  that  he  cor- 
rected five  books  of  the  mufic  of  Boetius,  which  he  fays  abounded 
with  many  errors,  and  illuftrated  it  with  feveral  figures/ 

In  the  thirty-fecond  chapter  he  confiders  the  fpeculations  of  Ludo- 
vlcus  Follianus,  and  as  to  his  divifion  of  the  diapafon,  he  fays  it  is 
the  fame  with  that  of  Ptolemy,  called  the  fyntonous,  intenfe,  or 
flretched  diatonic,  which  he  fays  Didymus  inveated  many  years  ago, 
with  this  difference,  that  Didymus  gave  to  the  fefquinonal  tone  the 
firfl  place  in  the  tetrachord,  whereas  Ptolemy  gives  it  to  the  fefqui- 
odave  tone»  He  neverthelefs  fays  of  the  intenfe  diatonic  in  general, 
that  it  is  a  divifion  of  all  others  the  moft  correal  and  grateful  to  the 
ear.  He  fays  that  many  of  the  ratios  inveftigated  by  Follianus  had 
before  his  time  been  difcovered  by  Bartholomeus  Ramis,  a  Spaniard, 
who  is  blamed  by  Franchinus  for  differing  from  Boetius.  Salinas  fays 
that  he  himfeif,  long  before  the  treatife  of  Follianus  had  been  red  to 
him,  had  made  many  of  the  difcoveries  therein  contained,  and  that 
he  had  from  time  to  time  communicated  ihem  to  Bartholomeus  Ef- 
cobedus>  a  man  excellently  verfed  in  both  parts  of  mufic,  and  his 
very  great  friend,  who  told  him  there  was  a  certain  author  who  had 
treated  of  all  thofe  things  in  the  fame  manner  as  he  had  thought  on, 
and  this  author  he  afterwards  found  to  be  Follianus.  He  blames 
Follianus  for  ufing  three  femitones,  which  he  calls  greater,  lefier, 
and  leafl,  when  no  one  elfe  had  noticed  more  than  two,  and  many  bat 
one,  the  greater  of  the  three  is  in  the  ratio  H,  the  leifer  H*  and  the 

leait 


i6o  HISTORY    OF   THE   SCIENCE     Book  L 

leaft  H,  the  two  laft  he  fays  are  well  conftituted,  but  the  firfl  he 
condemns  as  inconcinnous  and  ungrateful  to  the  ear. 

He  concludes  his  remarks  on  the  writings  of  the  modern  muficians 
with  a  charader  of  Zarlino,  of  whom  he  fays  that  he  was  well  ikilled 
in  both  parts  of  mufic,  for  that  as  to  what  regarded  the  pradice,  he 
had  been  fcholar  to  Adrian  Willaert,  the  moH:  famous  fymphonift  of 
his  time,  and  fucceeded  him  in  his  fchool  at  Venice;  and  on  the 
theory  of  the  fcience  he  wrote  much  better  than  thofe  that  went 
before  him. 

The  remaining  three  books  of  Salinas's  work  are  on  the  fubje(5t  of 
the  Rythmus,  and  are  a  copious  differtation  on  the  various  kinds  of 
metre  ufed  by  the  Greek,  the  Roman,  and,  in  honour  of  his  own 
country,  the  Spanifh  poets.  In  the  courfe  of  his  enquiries  touch- 
ing their  nature  and  ufe,  he  takes  frequent  occafion  to  cite  and 
commend  St.  Auguftine,  who  alfo  wrote  on  the  fubjedl.  The  laws 
of  metre  have  an  immediate  reference  to  poetry  ;  but  Salinas  in  a 
variety  of  inftances  fhews  that  they  are  applicable  to  mufic,  and 
that  the  feveral  kinds  of  air  that  occur  in  the  compofition  of  mufic  and 
of  dances,  fuch  as  the  Pavan,  the  Paflamezzo,  and  others,  confift  in 
a  regular  commixture  and  interchange  of  long  and  fhort  quantities. 

For  a  charader  of  this  valuable  work  let  it  fuffice  to  fay,  that  a 
greater  degree  of  credit  is  due  to  it  than  to  almoft  any  other  of 
the  kind,  the  produdion  of  modern  times,  and  that  for  this  reafon  : 
the  author  was  a  pradical  mufician,  that  is  to  fay  an  organift,  as  well 
as  a  theorift,  and  throughout  his  book  he  manifefts  a  difpofition  the 
fartheft  removed  that  can  poffibly  be  imagined  from  that  credulity 
which  betrayed  Glareanus  and  fome  others  into  error  -,  this  difpofition 
led  him  to  enquire  into  and  examine  very  minutely  the  dodlrines  of 
the  Greek  writers;  and  the  boldnefs  with  which  he  reprehends 
them, does  almoft  perfuade  us  that  when  he  differs  from  them  the 
truth  is  on  his  fide.  This  feems  to  be  certain,  and  it  is  wonderful 
to  confider  it,  that  notwithftanding  the  ancients  were  divided  in  their 
notions  of  the  genera,  and  that  the  enarmonic  genus  was  by  much 
the  moft  difficult  to  comprehend  of  them  all,  Salinas,  a  man  de- 
prived of  the  faculty  of  feeing,  at  the  diftance  of  more  than  two 
thoufand  years  after  it  had  grown  into  difufe,  inveftigated  and  accu- 
rately defined  it,  6 


i6i 


GENERAL        HISTORY 


OF     THE 


SCIENCE       and      PRACTICE 


O  F 


MUSIC 


BOOK      II.  CHAP.      I. 

THE  mufical  characters  hitherto  fpoketi  of,  were  calculated  not 
only  for  vocal  performance,  but  were  applicable  to  every 
inftrument  in  ufe  after  the  time  of  inventing  them,  excepting 
the  lute,  which,  for  reafons  beft  known  to  the  performers  on  it, 
had  a  feries  of  charaders  appropriated  to  that  and  others  of  the  fame 
clafs;  when  or  by  whom  thefe  charaders  were  invented  is  not  known. 
This  kind  of  notation,  which  is  by  certain  letters  of  the  Roman  alpha- 
bet, is  called  theTablature,  the  firft  intimations  of  which  are  to  be  met 
with  in  the  Mufurgia  of  Ottomarus  Lufcinius.  The  Fronimo  of  Galilei 
is  in  the  title-page  called  A  Dialogue  *  fopral'Arte  del  beneintavolare:* 
this  kind  of  tablature  differs  from  the  other,  the  author,  according  to 
the  manner  of  the  Italians,  as  Merfennus  fays,  making  ufe  of  numbers 
inftead  of  letters,  and  of  ftraight  or  hooked  lines  inftcad  of  notes*. 

Merfennus  fays  that  feveral  fkilful  men  had  laboured  to  improve 
the  Tablature,  but  yet  infmuates  that  they  afFeded  to  make  a  myftery 
of  it,  from  whence  he  infers  that  diverfity  of  notation  between  them. 
He  adds  that  Adrian  Le  Roy  is  the  only  one  who  has  in  truth  given 
to  the  world  the  precepts  of  the  Tablature  -j-.  This  man  was  a  book- 
feller  at  Paris,  and  wrote  the  book  which  Merfennus  above  alludes 
to,  with  the  title  of  *  Briefve  6c  facile  Inftrudion  pour  aprendre  la 
*  Tablature   a  bien   accorder,  conduire,  &  difpofcr  la   Main  fur  la 

*  De  Inflrumentis  Harmonicis,  lib.  I.  prop,  xviii.  pag.  24.  f  Ibid. 

Vol.  Ill,  Y  «  Guitcrne/ 


i62  HISTORY    OF    THE    SCIENCE       Book!. 

*  Guiterne,'  which,  together  with  another  book  of  his  of  the  fame- 
kind,  intitled  *  Inftrudtion   de  partir  toute  Mufique  des   huit  divers- 

*  Tons  en  Tablature  de  Luth,'  were  publiflied  about  1570,  with  a  re- 
commendatory preface  by  one  Jacques  Gohory,  a  mufician  and  a 
friend  of  the  author. 

This  being  the  firft  book  of  the  kind  ever  publiflied,  it  was  efleemed 
a  great  curiofity,  and  as  fuch  was  immediately  on  its  publication  tranf- 
Jated  into  fundry  languages;  that  into  the  Englifh  has  only  the  initials 
F.  K.  for  the  name  of  the  tranflator,  and  was  printed  by  Jhon  Kingfton* 
in  I  ^y^.    The  firft  of  thefe  books  exhibits  tke  lute  in  this  form  *  - 


and  reprcfents  by   the  following  figure  the  pofture  for  holding  and' 
playing  on  it  : 

*  The  ;ibave  figure  reprefeiUs  the  lute  in  its  original  form,  but  the  many  improvements- 
nraile  in  this  inltrunieMt  make  it  tieceffary  to  remark  that  the  lute,  fimply  conftrucSted  as 
this  is,  is  called  the  French  lute  ;  the  fiifl  improvement  of  it  was  the  Theorbo  or  Cithara 
])iju;j.a,  fo  called  as  having  two  necks,  the  fecond  or  longed  whereof  fullains  the  four  lafb 
rows  of  chords,  which  give  the  deepefl:  and  graved  founds  ;  its  ufe  is  to  play  thorough  bafs 
rn  the  accorttpanynient  ot"  the  voice.  Bioil'ard  intimates  that  it  was  invented  in  France  by 
The  Sieur  Hotteman,  and  thence  introduced  into  Italy.  ButKlrcher  gives  a  different  ac- 
coiuuof  the  matter,  faying  that  it  receiveil  its  name  from  a  certain  Neapolitan  who  firft- 
tloublcd  the  neck  of  the  Telhulo  or  lute,  and  added  feveral  chords  to  it.  He  fays  that  the 
iuilhor  of  this  inipruvement,  with  a  kind  of  pun,  gave  to  this  inflrument  tbenameof  Ti- 
orbj,  from  its  near  refemblaiice  to  a  utenfil  fo  called,  in  which  the  glovers  of  Italy  were 
wont,  as  in  a  mortar,  to  ^xjinid  perfumes  Kircher  adds,  that  Hieronymus  Kapfperger,, 
a  noble  German,  was  the  liVitthat  brou'^ht  the  Theorbo  into  repute,  and  that  in  his  time 
k  had  the  preferen<:e  of  all  other  inflruments. 

The  ilrings  of  the  Theorbo,  propcily  fo  called,  are  fingle,  neverthelefs  there  are  many. 
who  double  the  bafs  firings  witlvan  0(^\.ive,  and  the  fmall  ones  with  a  unifon,  in  which  cafe 
it  aifuiTies  a  new  appellation,  and  is  called  the  Arch-lute.  Merfennus  is  extremely  accu- 
r.ite  in  his  deicription  of  the  lute  and  tliii  Thjeorbo,,  bui  he  has  not  noted  the  diverfit.)^be;- 
itvcen  the  Litter  and  iLc  Acch-Iuttii. 


Chap.  I.      AND    PRACTICE    OF    MUSIC,  163 


The  lute  which  Le  Roy  treats  of,  Is  fuppofed  to  confifl:  of  fix 
firings,  or  rather  eleven,  for  that  the  five  larger  are  doubled  ;  and 
in  the  Tablatnre  the  ftave  of  five  lines  anfvvcrs  to  the  five  upper 
itrings  of  the  infirument,  the  lower  or  bafe  Oring  It  feems  being  fuf- 
ficiently  denoted  by  its  proximity  to  the  fifth  firing,  fignified  by  the 
loweft  line  of  the  ftave. 

The  frets  come  next  to  be  explained  ;  thefe  are  firjall  firings  tied 
about  the  neck  uf  the  lute  at  proper  difiances,  eight  in  nutiiber,  and 
figured  by  the  letters  bcdefghi*;  the  letter  a  is  omitted  iu 

*  It  feems  that  the  ufe  of  the  fniall  letters  of  the  alphabet  in  tablature  was  at  fnfl:  pecii- 
liar  to  the  Frencli.     The  Italiaiw  and  other  natioiis  inltead  thereof  making  ufe  of  cyphers 

Y  2  and 


1 64  HISTORY    OF    THE    SCIENCE       Book  L 

the  above  feries,  forafmuch  as  where  ever  it  is  found  the  ftring  is  to 
be  (Iruck  cpcn.  The  general  idea  of  the  tablature  therefore  is  this^ 
the  lines  of  liie  ftave  give  the  chords  refpedlively,  and  the  letters  the 
points  at  which  they  arc  to  be  flopped,  and  confequently  the  notes  of 
any  given  compofition,  the  inftrument  being  previoufly  tuned  for  tho^ 
purpofe,  as  the  precepts  of  the  lute  require. 

As  to  the  charaders  for  time  ufed  in  the  tablature,  they  were  of 
this  form  f*  [^  f^>  anfvvering  to  the  minim,  the  crotchet,  and  the 
quaver,  and  placed  over  the  flave  in  the  manner  reprefented  in  the- 
fubfequent  example. 

The  other  trad,  intltled  *  Inflrudion  de  partir  toute  Mufique  des 
^  huit  divers  Tons  en  Tablature  de  Luth,'  directs  the  method  of  fet- 
ting  mufic  already  compofed  in  proper  notes  in  tablature  for  the  lute,. 
and  contains  a  great  variety  of  examples  chofen  out  of  the  works  of 
Orlando  de  Laflb*;  the  following,  which  is  the  firfl  flrain  only  of  a 
fong  of  his,  beginning  *  Quand  mon  Mary  vient  de  dehors,'  in  four 
parts  with  the  Tablature,  may  ferve  as  a  fpecimen  of  this  kind  o£ 
notation  -f*. 

and  other  chnraclers      Le  Roy,  pag.  64.     But  the  French  method,  foon  after  the  publica- 
tion of  Le  Roy's  book,  became  general. 

•  Gohory,  in  his  preface  to  Le  Roy's  book,  fums  up  the  charadler  of  Orlando  de  Laflb 
in  thcfe  words :  *  Here  then  will  I  endy  after  1  haue  aduertifed  you  that  all  the  examples 

*  of  this  book  be  taken  and  chofen  out  of  Orland  de  Laffis,  of  whom  I  will   further  wit- 

*  nefs,  that  he  is  this  day,  without  daunger  of  offence  to  any  man,  efteemed  the  moft  ex- 
'  cellent  muGtian  of  this  time,  as  well  in  graue  matters,  as  meane  and  more  pleafaunt ;  a 

*  thing  giuen  from  aboue  to  fewe  other,  in  which  he  hath  attayned  not  only  the  perfection. 
'  of  melodic,  but  alfo  a  certaine  grace  of  found  beyond  all  other,  fuch  as  Appelles  did  ac- 

*  compt  of  V^enus  portrature  :  wherein  he  hath  more  than  all  other  obferued  to  fit  the  har- 
'  monie  to  the  matter,  expreffing  all  partes  of  the  pafTions  thereof:  being  the  firft  that  hath 

*  efchcwed  bondes  and  common  holdinges  of  the  letter,  by  right  placing  of  the  fillabelles 
»  upon  the  notes,  and  obferuiiig  the  accent  in  French,  and  quantitie  in  Latine.* 

t  It  ftems  that  the  method  of  notation  by  the  tablature  was  alfo  adapted  to  the  Viol  de 
Gamba.  Inthefecond  book  of  Songs  or  Ayres  with  Tablature,  by  John  Dowland,  print- 
ed in  i6co,  is  a  leffon  in  tablature  for  the  lute  and  bafe  viol,  entitled  Dowland's  Adew 
for  Mader  Oiiucr  Cromwell  ;  and  in  a  book  printed  in  1603,  entitled  The  Schoole  of 
^luficke,  by  Thomas  Robinfon  lutenift,  is  a  fong  for  the  viol  by  tablature.  Nay,  it  was 
alfo  ufed  for  the  treble  violin,  and  that  fo  late  as  1682;  and,  which  is  very  remarkable, 
there  were  then  t«o  ways  of  tunin.'  it,  at  the  choice  of  the  performer,  by  fifths  and.by 
eighths  j  this  appears  in  a  book  entitled  Apollo's  Banquet,  containing  Inftru£lions  and  Va- 
riety of  new  Tunes,  Ayres,  and  jiggs,  for  the  treble  Violin,  the  third  edition  publifhed 
in  ilint  year  by  John  PJayford.  Anthony  V/ood,  who  loved  and  underftood  mufic,  alfo 
pkiyeil  wn  the  violin  ;  and,  as  he  himfelf  relates,  pra6lifed  a  flill  different  method  of 
tuning,  viz.  by  fourths.  Vide  JUife  of  Antony  a  Wood,  at  the  end  of  Hearne's  Caii  Viii- 
ditiie,  and  lately  reprinted  by  itfeif. 


Chap,  I.    AND    PRACTICE    OF    MUSIC. 

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i66  HISTORY    OF    THE    SCIENCE      Book  t. 

The  ninth  and  lafl:  chapter  of  this  latter  book  of  Le  Roy  Is  on  the 
fubjedl  of  firings*  concerning  which  there  is  much  curious  matter  in 
iVlcrfennus,  as  alfo  a  rule  for  trying  them,  and  diftingulfliing  between 
a  true  and  a  falfe  ftring  :  but  becaufe  this  rule  is  alfo  to  be  found  in 
Le  Roy's  book,  and  moft  probably  was  by  Merfennus  taken  from 
thence,  the  whole  of  the  chapter,  v/hich  is  very  fhort,  is  here 
infer  ted. 

*  To  put  the  lafte  hande  to  this  worke,  I  will  not  omitte  to  giue 

*  you  to  underflande  how  to  knowe  ftringes,  whereof  the  bed  come 

*  tous  out  of  Almaigne,  on  this  fide  the  towne  of  Munic,  and  from 

*  Aquilain  Italic  :  before  we  put  them  on  the  lute  it  is  nedefull  to 
«  prdve  them  between  the  handes  in  maner  as  is  fette  forthe  in  the 

*  figures  hereafter  pidured,   which  (hewe  manifefilie  on  the  finger 

*  and  to  the  eye  the  difference  from  the  true  with  the  falfe  :  that  is  to 

*  wete,  the  true  is  knowen  by  this,  that  in  flrikyng  hym  betvvene  the 

*  fingers  hee  mufte  fhewe  todiuide  hymfelfe  jufie  in  twoo,  and  that 

*  for  fo  piuche  as  (hall  reche  from  the  bridge  belowe  to  the  toppe  of 

*  the  necke,  becaufe  it  maketh  no  matter  for  the  refl  of  the  ftringes 

*  that  goeth  among  the  pinnes  ;  notwithftandyng  ye  male  not  be  fa- 

*  tisfied  in  aflaiyng  the  ftringe  holden  only  at  that  length,  but  that 

*  you  muft  alfo  proue  hym  in  ftryking  hym,  treying  holden  at  (horter 

*  lengthes  to  be  well  affured  of  his  certaine  goodnes  and  perfedlioh* 

*  Alfo  the  falfe  fl:rynge   is  knowen  by  the  (hew  of  many  (Irynges, 

*  which  it  reprefenteth  when  it  is  flriken  between  the  fingers;  fo 

*  mufte  you  continewe  the  fame  triall  in  ftryking  the  flryng  till  you 
«  perceiue  the  tooken  of  the  good  to  feparate  hym  from  the  badde, 
•*  accordyng  to  the  figures  followyng/ 


Chap.  I.    AND    P-RACTICE    OF    MUSIC. 


CosTANzo  Porta,  a  Francifcan  friar,  and  a  native  of  Cremona,. 
IS  highly  celebrated  among  the  muficians  of  the  fixteenth  century. 
In  the  early  part  of  his  life  he  was  Maeflro  di  Capella  in  the  cathe- 
dral church  of  Ofimo  as  it  is  called,  from  the  Latin  Auximum,  a  fmall 
city  on  the  river  Mufone  near  Ancona,  but  was  afterwards  advanced 
to  the  fame  iktion  in  the  church  of  Loretto.  He  was  the  author  of 
that  moft  ingenious  compofition  pubhfhed  firll  by  Artufi  in  his  treatife 

*  Delle  Imperfettioni  della  moderna  Mufica,'  and  inferted  in  the  iirft 
volume  of  this  work,  and  which  is  fo  contrived,  as  that  bcfides  that 
the  parts  are  inverted,  it  may  be  fung  as  well  backward  as  forward. 
He  is  fuppofed  to  have  died  in  the  year  1580,  and  has  left  behind 
him  Motets  for  five  Voices,  printed  at  Venice  in  1546,  and  other 
works  of  the  like  kind,  printed  alfo  there  in  1566  and  1580.  In  aa 
oration  pronounced  by  Anfaldus  Cotta  of  Cremona  in  15,53,  '  P^^  ^"- 

*  ftauratione  Studiorum  Cren[K)na^'  is  the  following eulogium  on  him: 

*  Conftantius  Porta  non   tam  hujus  urbis,  quam  Francifcanas  fami- 

*  \ix  decus  eximium,  cujus  in  mufica  facultate  prseftantiam  plerifque 

*  cum  ItaliiE  urbibus  Roma  potiffimum,  omnium  regina  gentium  eft 

*  admirata.'  Vide  Arifii  Cremonam  literatam,  pag.  453.  And  elfe- 
where  in  the  fame  oration  he  is  ftyled  *  Muficorum  omnium  priEter 
'  invidiam  facile  princeps.'     Vide  Draudii  Bibl.   CJalT.  pag.  169,3, 


GlQp- 


i68 


HISTORY    OF    THE    SCIENCE      Book  I. 


COMPOSITORS    DELI.A    CAI^PEULA.  POJSTTinCI^    ^ 
PRENCrPE      DEIilM-    MUSIC  A. 
IMDIXII. 


Giovanni  Pierluigi  da  Palestrina  was,  as  his  name  im- 
ports, a  native  of  the  ancient  Praenedc,  now  corruptly  called  Palef-* 
trina,  and  ftill  more  corruptly  Paleftina  *.  He  flouriflied  in  the  mid- 
dle of  the  fixteenth  century ;  and  the  year  of  his  birth  is  thus 
afcertained  by  Andrea  Adami  da  Bolfena,  mafter  of  the  pontifical 
chapel  under  Clement  XI.  who   profeffes   to  give  the  particulars  of 

*  The  name  Gianetto  Paleftina  occurs  in  many  colle£lions  of  madrigals  and  other  com- 
pofiions  publi{hed  about  this  time  ;  and  in  the  Storia  della  Mufica  of  Padre  iMartini,  pag. 
198,  is  the  following  note,  *  Giovanni  Pier  Luigi  daPaleftrina  dettoanche  Gianetto  daPa- 
*  Jdtina  come  dal  lib.  I.  intitojato  Li  Amorofi  Ardori  di  diverfi  eccell.  Mufici  35.  raccolti 

*  da, 


Chap.  F.      AND    PRACTICE    OF    MUSIC.  169 

his  life.     *  The  time  of  Paleftrina's  birth  is  not  precifely  to  be  afcer- 

*  tained,  by  reafon  that  the  records  of  the  city  of  Paleftrina,  which 

*  may  be  fuppofed  to  contain  the  regifter  of  his  birth,  were  deflroy- 

*  ed  at  the  facking  thereof  by  the  duke  d'  Alva  in  1557 ;  but  it  ap- 

*  pears  by  a  book  intitled  Le  Grotte  Vaticane,  written  by  a  perfon 

*  named  Torrigio,  that  he  was  in  the  fixty-fifth  year  of  his  age  when 

*  he  died  J*  and  from  other  authentic  evidences  the  fame  writer,  Adami, 
fixes  the  time  of  his  death  on  the  fecond  day  of  February  1594,  from 
whence  it  may  be  computed  that  he  mull  have  been  born  fome  time 
in  the  year  1529  *. 

The  author  who  has  enabled  us  thus  fatisfadorily  to  fettle  the  pe- 
riod of  Paleftrina's  life,  has  been  lefs  fortunate  in  afcertaining  the 
name  of  his  mafter.  He  fays  that  he  was  a  fcholar  of  Gaudio  MelT 
Fiammengo,  i.  e.  a  Fleming,  or  native  of  Flanders;  this  afTertion  is 
grounded  on  the  teftimony  of  Antimo  Liberati,  a  finger  in  the  ponti- 
ileal  chapel,  who  has  given  an  account  of  Paleftrina  and  his  fuppofed 
«iafter  in  thefe  words : 

*  Among  the  many  Grangers  who  fettled  in  Italy  and  Rome,  the 

*  firft  who  gave   inftru(5lions  for  (inging  and  harmonic  modulations 

*  was  Gaudio  Mell,  Flandro,  a  man  of  great  talents,  and  of  a  fweet 

*  flowing  ftyle,  who  inftituted  at  Rome  a  noble  and  excellent  fchool 

*  for  mufic,  where  many  pupils  rendered  themfclves  confpicuous  in 

*  that  fcience,  but  above  all  Gio.  Pier  Luigi  Paleftrina,   who,  as  if 

*  diftinguifhed  by  nature  herfelf,  furpafled  all  other  rivals,  and  even 
•*  bis  own  mafters.     This  great  genius,   guided  by  a  peculiar  facul- 

*  ty,  the  gift  of  God,  adopted  a  ftyle  of  harmony  fo  elegant,  fo 

*  da  Cefare  Corradi.' 

The  truth  of  this  aflertion,  notwhhflanding  riie  authority  on  which  it  is  grounded,  is  at 
leaft  queftionable.  In  a  collection  of  madrigals,  intitled  Meloilia  Olympica,  publifhed  by 
Pietro  Philippi  in  1594,  we  meet  with  the  name  Gio.  Preneftini  to  the  madrigals,  *  Mori 

*  quad  il  mio  Core,*  and  '  Veramente  in  amore  ;'  and  alfo  with  the  name  Gianetto  Pa- 
leftina  to  '  Non  fon  le  voftri  mani,'  and  '  O  bella  Ninfa.'  And  in  a  colieftlon  of  mo- 
tets entitled  *  Florilegium  facrarum  cantionum  quinque  vocum  pro  dicbus  Don)inicis  et 

*  Feftis  totius  anni  e  celeberrimis  noftri  temporis  muficis,'  printed  by  Petrus  Phalefius  of 
Antwerp  in  161 1,  the  name  Jo.  Aloyfius  Prreneftinus  occurs  in  feven  places,  and  that  of 
Gianetto  de  Paleftina  in  four. 

The  argument  hence  arifing  is,  that  if  both  thofe  names  were  intended  to  denote  the 
fame  perfon,  the  diflin£lion  between  them  would  hardly  have  been  preferved  in  the  iu- 
ftances  above  adduced  in  one  and  the  fame  publication.     - 

*  Vide  Oflervazioni  per  ben  regolare  il  Coro  della  Cappella  Pontificia,  fatte  da  Andrea 
Adami  da  Bolfena,  pag.  169. 

Vol.  III.  Z  '•  noble. 


jyo  HISTORY    OF    THE    SCIENCE      Book  I. 

.  *  noble,  fo  learned,  Co  eafy,  and  To  pleafing  both  to  the  connoifTeur 

*  and  the  ignorant,  that  in  a  mafs  compofed  on  purpofe,  fung  before 

*  pope  Marcellus    Cervinus  and  the  facred  college  of  cardinals,  he 
«  made  that  pontiff  alter  the  intention  he  had  of  enforcing  the  bull 

*  of  John  XXII.  which  aboliflied  entirely  church-mufic  under  the  pe- 

*  nalty  of  excommunication.     This  ingenious  man,  by  his  aflonifli.- 

*  ing  flcill  and  the  divine  melody  of  that  mafs,  plainly  convinced  his 
'  holinefs  that  thofe  difagreeable  jars  betv^^een  the  mufic  and  the 

*  words  fo  often  heard  in  churches,  were  not  owing  to  any  defed^ 

*  in  the  art,  but  to  the  want  of  flcill  in  the  compofers  ;  and  Paul  IV. 

*  his  fucceflbr,  to  whom  he  dedicated  the  mafs  entitled  Mifla  Paps 
«   Marcelli,  appointed  him   perpetual  compofer  and  diredor  in  the 

*  pontifical  chapel*,  a  dignity  which  has  been  vacant  ever  fince  hi& 
«  death  -f-.  This  mafs  is  now  and  ever  will  be  performed,  as  long  as 
«  there  is  a  world,  in  the  facred  temples  at  Rome,  and  in  all  other 
«  places  where  they  have  been  fo  fortunate  as  to  procure  the  compofi>- 
«  tions  of  a  genius  whofe  works  breathe  divine  harmony,  and   en- 

*  able  us  to  fing  in  a  rtyle  fo  truly  fublime  thepraifesof  our  Maker  J. 

Adami  has  adopted  the  fafts  contained  in  this  relation,  and  ac- 
quiefced  in  the  affertion  that  Gaudio  Mell,  a  Fleming  was  the  mafter 
of  a  noble  fchool  at  Rome,  where  the  principles  and  pradtice  of  ma- 
fic were  taught,  and  that  Paleftrina  was  his  difciple. 

It  is  to  be  feared  that  Liberati  had  no  better  authority  for  the  par- 
ticulars of  his  relation  than  bare  report,  for  evidence  is  wanting 
that  fuch  a  perfon  as  Gaudio  Mell,  a  Fleming  and  mufician,  ever 
exifted  :  his  name  does   not  occur  in  the  lift  of  Flemish  muficians^ 

*  Paul  IV.  fucceeded  to  the  pontificate  in  j$()Oy  and  at  that  time  Girolamo  Maccabei 
Was  Maeflro  della  Cappella  Pontificia  ;  and  in  1 567  he  was  fucceeded  by  Egidio  Valenti ; 
thefe  were  both  ecclefiaftics,  and  not  muficians,  and  the  latter  is  ftyled  *  Maeflro  del  Col- 

*  legio  de  Cantori  della  Cappella  Pontificia,'  from  whence  it  may  be  conjedtured  that  this , 
was  an  office  that  referred  to  the  government  of  the  college,  and  not  to  the  performance  of 
fervice  in  the  chapel ;  fo  that  by  this  appointment  Paleftrina  feems  to  have  been  virtually. 
Maeftro  di  Cappella,  as  well  of  the  pope's  chapel  as  of  the  church  of  St.  Peter,  but  that  he 
did  not  chufe  to  aflume  the  title,  it  having  been  already  appropriated  to  an  officer  of  a  dif- 
ferent kind.  -r.    ■       A 

t  This  is  a  miflakeof  Antimo  Liberati,  and  is  noted  by  Adami,  for  Felice  Anerio  fuc 

ceeded  Paleftrina  in  the  office  of  Compofitore  da  Cappella  Pontificia  immediately  on  his  de- 

ceafe,  as  appears  by  a  memorandum  in  a  book  of  Ippolito  Gamboci,  Puntatore,  i,  e.  re- 

'  gifter  of  the  college,  or,  as  fome  fay,  an  officer  whofe  duty  it  is  to  appoint  the  fundions. 

for  each  day's  fervice  in  the  chapel.    See  the  account  of  Felice  Anerio  hereafter  given. 

+  Lettera  fcritta  dal  Sig.  Antimo  Liberati  in  rifpofta  ad  una  del  Sig-  Ovidio  Perfapeg^ 
1jC88,  pag.  22. 

given 


Chap.  J.       AND    PRACTICE    OF    MUSIC.  171 

given  by  Guicclardini  in  his  Hiftory  of  the  Low  Countries,  nor  In  any 
t)f  thofe  colledions  of  vocal  mufic  publlflied  by  Pietro  Phalefio,  Hu- 
bert Waelrant,  Andrew  Pevernage,  Pietro  PhiHppi,  Melchlor  Borch- 
grevinck,  and  others,  between  the  years  1593  and  1620,  nor  InPrintz's 
Hiftory  of  Mufic,  nor  in  that  of  Bontempi,  nor  in  the  Mufical  Lexi- 
con of  John  Godfrey  Walther,  which  contains  an  accurate  account 
of  muficians  from  the  time  of  Pythagoras  down  to  the  year  1732. 

It  may  indeed  be  fufpedted  that  Liberati  by  Gaudio  Mell  might  un- 
derhand Goudimel,  but  his  Chriftian  name  was  Claude,  for  which 
reafon  he  is  by  Monfieur  Varillas  confounded  with  Claude  Le  Jeulfe. 
Neither  was  Goudimel  a  Fleming,  but  a  native  of  Franche  Comte, 
as  Bayle  infers  from  certain  verfes  v/hich  fix  the  place  of  his  birth 
upon  the  Doux,  a  river  that  runs  by  Bezan9on  ;  and  Franche  Comt^ 
is  not  in  Flanders,   but  in  Burgundy  *. 

But  befides  that  the  mafter  of  Paleftrina  is  faid  to  have  been  a  Fle- 
ming, there  are  other  reafons  for  fuppofing  that  Goudimel  was  not 
the  perfon.  Goudimel  was  a  proteftant,  and,  as  Thuanus  relates, 
fetthe  Pfalms  of  David  tranflated  into  metre  by  Clement  Marot  and 
Theodore  Beza,  to  various  and  moft  pleafing  tunes,  which  in  his  time 
were  fung  both  publicly  and  privately  by  the  proteftants.  He  was 
maflacred  at  Lyons,  and  not  at  Paris,  as  fome  aiTert,  in  1572,  and 
has  a  place  and  an  eulogium  in  the  proteftant  martyrology  -f-. 

After  dating  the  above  fadls  it  muft  appear  needlefs  to  infift  on  the 
improbability  that  Paleftrina,  who  we  muft  fuppofe  to  have  been 
born  of  parents  of  the  Romifti  communion,  (hould  have  ever- 
been  the  difciple  of  a  proteftsnt,  an  intimate  of  Calvin,  and  a 
icompofer  of  the  mufic  to  a  tranflation  of  the  Pfalms  into  vernacular 
metre,  and  who,  fo  far  was  he  from  having  inftituted  a  mufic- fchool 
at  Rome,  as  is  elfewhere  afl'erted,  does  not  appear  by  any  of  the  ac- 
counts extant  of  him  to  have  paft  the  limits  of  his  own  country. 

For  thefe  reafons  it  may  be  prefumed  that  Liberati  is  miftaken  in 
the  name  of  Paleftrina's  mafter,  who  though  in  truth  a  Fleming, 
and  of  the  name  of  Mell,  feems  to  have  been  a  different  perfon  from 
him  whom  he  has  dignified  with  that  charadler.  In  a  word,  the 
current  tradition  is,  and  Dr.  Pepufch  himfelf  acquiefced  in  it,  that 
Paleftrina  was  a  difciple  of  Rinaldo  del  Mell  [Renatus  de  Mell]   a 

•  Vide  Bayie  in  art.  Goudimel*  t  Ibid. 

Z  2  well- 


172  HISTORY   OF   THE    SCIENCE      Book  I. 

well-known  compofer  In  the  fixteenth  century,  who  is  defcribed  by 
Printz  and  Walther  as  being  a  native  of  Flanders,  and  to  have  flou- 
ridied  about  the  year  1538,  at  which  time  Paleftrina  was  nine  years 
old,  a  proper  age  for  inftrudion. 

At  the  age  of  thirty-three,  and  In  the  year  1562,  Paleftrina  was 
made  Maeflro  di  Cappella  di  S.  Maria  Maggiore,  and  in  1571  he  was 
appointed  to  the  fame  honourable  office  in  the  church  of  St.  Peter  at 
Rome,  in  the  room  of  Giovanni  Animuccia,  which  he  held  for  the  re- 
mainder of  his  life,  honoured  with  the  favour  and  protedion  of  the 
fucceeding  popes,  particularly  Sixtus  V. 

Antimo  Liberata  relates  that  Paleflrina,  in  conjundion  with  a  very 
intimate  friend  and  fellow-ftudent  [condifcepoloj  of  his,  Gio.  Maria. 
Nanino  by  name,  eftablifhed  a  fchool  at  Rome,  in  which,,  notwith- 
ftanding  his  clofe  attachment  to  his  fludies  and  the  duties  of  his  enr- 
ployment,  the  former  often  appeared  affifting  the  fludents  in  their  ex- 
ercifes,  and  deciding  the  differences  which  fometimes  arofe  between: 
the  profeffors  that  frequented  it. 

In  the  courfe  of  his  ftudies  Paleftrina  difcovered  the  error  of  the 
German  and  other  muficians,  who  had  in  a  great  meafure  corrupted 
the  pradice  of  mufic  by  the  introdudion  of  intricate  proportions,  and; 
fet   about  framing  a  ftyle  for  the  church,  grave,  decent,  and  plain,, 
and  which,  as  it  admitted  of  none  of  thofe  unnatural  commixtures  of 
diffimilar  times,  which  were  become  the  difgrace  of  mufic,  left  am- 
ple fcope  for  invention.     Influenced  by  that  love  of  fimplicity  which- 
is  difcoverable  in  all  his  works,  he,  in  conjundion  with  Francefco- 
Soriano,  reduced  the  meafures  in  the  Cantus  Ecclefiafticus  to  three,, 
namely,  the  Long,  the  Breve,  and  the  Semibreve  *. 

Of  many  works  which  Paleftrina  compofed,  one  of  the  moft  capital; 
is  his  Maffes,  publifhed  at  Rome  in  1572,  in  large  folio,  with  this 
title,  *  Joannis  Petri  Loyfii  Prsneftini  in  Bafilica  S.  Petri  de  urbe  ca- 
*  pellsE  magiftri  miffarum,  liber  primus,'  under  which  is  a  curious  print 
from  wood  or  metal  after  the  defign  of  fome  great  painter,  as  mufi:  be 
inferred  from  the  excellence  of  the  drawing,  reprefenting  the  author 
making  an  offering  of  his  book  to  the  pope  in  the  manner  here  ex- 
hibited. 

♦  Vide  II  Canto  Ecclefiaftlco  da  D.  Marzio  Ercuko.    In  Modano,  1686,  pag.  3, 


Chap.  10.    AND    PRACTICE    OF    MUSIC. 


nz 


174  HISTORY    OF    THE    SCIENCE      Book  I. 

On  the  back  of  the  title-page  is  a  (hort  commendatory  epiftle  to 
JuHus  III.  the  then  pope.  Of  thefe  mafles,  which  are  five  in  num- 
ber, and  it  is  to  be  doubted  whether  Paleflrina  ever  publifhed  any 
more  in  this  form,  four  are  for  four  voices,  and  one  for  five.  Many 
parts  of  each  are  compofed  in  canon,  and  befpeak  the  learning  and 
ingenuity  of  their  author.  The  maffes  are  printed  in  parts,  on  a 
coarfe  but  very  legible  type,  with  Gothic  initial  letters  curioufly  de- 
figned  and  executed  *. 

There  are  alfo  extant  of  his  compofition  Motets  and  Hymns  for  4, 
5,  and  6  voices,  printed  in  large  folio,  and  publiQied  in  1589  ;  fome 
of  thefe  motets  were  alfo  printed  in  a  colIe(ftion  intitled  *  Florilegium 

*  facrarum  cantionum  quinque  vocum  pro  diebus  dominicis  et  feftis 

*  totius  anni,  e  celeberrimis  noftri  temporis  muficis.'  This  colled:ion 
was  given  to  the  world  in  1609  by  Petrus  Phalefius,  a  printer  of 
Antwerp,  who  was  a  man  of  learning,  and,  as  it  (hould  feem,  a  lover 
of  mufic,  for  he  publiQied  many  other  collections  of  mufic,  and 
before  his  houfe  bad  the  fign  of  king  David  playing  on  the  harp. 
It  is  in  the  motets  of  Paleftrina  that  we  difcover  that  grandeur 
and  dignity  of  fl;yle,  that  artful  modulation  and  fweet  interchange 
of  new  and  original  harmonies,  for  which  he  is  fo  juftly  celebrated  ; 
with  refpedl  to  thefe  excellencies  let  the  following  compofition  fpeak 
for  him. 

*  The  art  of  printing  mufic  in  letter-prefs  or  on  metal  types,  was  at  this  time  arrived  at 
great  perfeftion,  it  was  invented  by  one  Ottavio  de  Petrucci  of  Foflbmbrone  in  Italy,  who 
in  the  year  1515  and  15 16  publifhed  the  mafles  of  lodocus  Pratenfis.  Oflerv.  da  Andrea 
Adami,  pag.  1 60.  And  in  France  it  was  improved  by  Pierre  Ballard,  as  appears  by  the  works 
of  Claude  le  Jeune,  publifticd  by  him. 


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GIO.  PIERLUIGI  DA  PALEJ:TrjNA 


Chap.  r.    AND    PRACTICE    OP    MUSIC.  183 

Dr.  Aldrich  adapted  Englifh  words,  that  is  to  fay  part  of  the 
fixty-third  pfafm,  *  O  God  thou  art  my  God,'  to  the  mufic  of  this 
motet,  and  it  is  frequently  fung  in  our  cathedrals  as  an  anthem,  as 
is  alfo  another  of  Paleftrina,  to  the  words  *  We  have  heard  with  our 
*  ears  O  Lord,*  thefe  are  remarkable  inftances  of  that  faculty  which 
Dr.  Aldrich  poflefled  of  naturalizing  as  it  were  the  compofitions 
©f  the  old  Italian  mafters,  and  accommodating  them  to  an  Englifli 
car,  by  words  perhaps  as  well  fuited  to  the  mulic  as  thofe  to  which 
they  were  originally  framed. 

Bleau,  in  his  Admiranda  Italia,  part  II.  pag.  312,  relates  that  at 
the  eredion  of  the  famous  antique  obelifk  near  the  Vatican  in  1 586.. 
Paleftrina  on  the  twenty-feventh  day  of  September  in  that  year,  with 
eighteen  choral  fingers,  aflifted  in  celebrating  that  ftupendous  work,, 
which  at  this  day  does  honour  to  the  pontificate  of  Sixtus  V. 

Kircher,  in  the  Mufurgia,  tom.  I.  lib.  VII.  cap.  v.  has  given  a 
Crucifixus  of  Paleftrina,  which  he  fays  is  defervedly  the  admiration  of 
all  muficians,  as  being  the  work  of  a  moft  exquifite  genius.  Many 
©f  the  mafTes  of  Paleftrina  are  ftridt  canon,  a  fpecies  of  compofition? 
which  he  thoroughly  underftood,  but  his  motets  are  in  general  fugues, 
in  which  it  is  hard  to  fay  whether  the  grandeur  and  fublimity  of  the 
point,  or  the  clofe  contexture  of  the  harmony  is  moft  to  be  admired* 
As  to  the  points  or  fubjedts  of  his  fugues,  though  confifting  in  gene- 
ral of  but  few  bars,  nay,  fometimes  of  no  greater  a  nunfber  of  notes 
than  are  ufually  contained  in  a  bar,  they  were  alTumed  as  themes  or 
Aibjedts  for  other  compofitions,.  and  this  not  by  young  ftudents,  but 
by  mafters  of  the  firft  eminence.  Numberlefs  are  the  inftances  to  be 
met  with  of  compofitions  of  this  kind,  but  fome  of  the  moft  remark- 
able are  contained  in  a  work  of  Abbate  Domenico  dal  Pane,  a  fopra- 
itift  of  the   pontifical  chapel,  publilhed  in  1587,  intitled  *  MefTe  a. 

*  quattro,  cinque,  fei,  et  otto  voci,  eftratte  da  efquifiti  motetti  del 

*  Paleftrina,'  thefe  are  eight  maftTes,  of  which  eight  motets  of  Palef- 
trina, namely  Docflor  bonus,  Domine  quando  veneris,  Stella  quam 
viderant  Magi,  O  Beatum  virum.  Jubilate  Deo,  Canite  tuba  in  Sion,. 
Fratres  ego  enim  accepi,  are  feverally  the  theme. 

The  fuperior  excellence  of  thefe  compofitions  it  feems  excited  in  the 
contemporary  muficians  both  admiration  and  envy.  Johannes  Hierony-^^ 
'musKapfberger,  a  German,  made  an  attempt  on  the  reputation  of  Palef- 
trina, which  fucceeded  as  it  deferved.     KapftDerger,  who  is  reprefented 


i84  HISTORY    OF    THE    SCIENCE       Book  I L 

by  Doni  as  a  man  of  great  aflurance  and  volubility  of  tongue,  by  the 
affiftance  of  a  friend  procured  admiffion  to  a  certain  bifhop,  to  whom  he 
infinuated  thar  the  compofitions  of  Paleftrina  ufually  fung  in  the  epif- 
copal  palace  were  rude  and  inelegant  in  refpedt  to  the  melody  and  har- 
mony, and  that  the  repetition  of  the  fame  words,  but  more  efpecially  of 
the  fame  point  or  mufical  fubjed:,  in  ftiort,  that  which  conftitutes  a 
fugue  in  one  and  the  fame  cantus,  detra<5ted  from  the  merit  of  the  com^ 
pofition.  The  bifhop,  who  feems  to  have  been  a  weak  man,  liftened 
with  attention  to  a  propofal  of  Kapfberger,  which  meant  nothing 
lefs  than  the  banifhing  from  his  chapel  the  mufic  of  Paleftrina,  and 
admitting  that  of  his  opponent  in  his  ftead ;  Kapfberger  fucceeded; 
and  his  mufic  was  given  to  the  fingers  of  the  bifhop's  chapel  ,•  they 
at  firft  refufed,  but  were  at  length  compelled  to  fing  it,  but  they  did 
it  in  fuch  a  manner  as  foon  induced  him  to  defift  from  hi«  attempr, 
and  wifely  decline  a  competition  in  which  he  had  not  theleafl  chance 
of  fuccefs.  Kapfberger  was  a  voluminous  compofer ;  he  excelled  all  of 
his  time  in  playing  on  the  Theorbo,  an  inflrument  which  he  had  great- 
ly improved  and  brought  into  repute,  and  is  reprefented  by  Kircher 
as  a  perfon  of  great  abilities  j  the  charader  he  gives  of  him  is,  that 
he  was  an  excellent  performer  on  mofh  inftruments,  a  man  noble  by 
birth,  and  of  great  reputation  for  prudence  and  learning  j  in  this  he 
differs  widely  from  Doni,  but  it  feems  that  Kircher  had  received 
great  afTiftance  from  Kapfberger  while  he  was  writing  the  Mufurgia. 

Paleflrina  feems  to  have  devoted  his  whole  attention  to  the  duties 
of  his  ftation,  for  the  improvement  of  the  church  flyle  was  the  great 
objedt  of  his  ftudies,  neverthelefs  he  compofed  a  few  madrigals, 
which  have  been  preferved  and  are  publifhed. 

In  the  year  1594  he  publifhed  «  Madrigali  Spiritual!  a  cinque  vocl,*^ 
dedicated  to  a  patronefs  of  his,  the  grand  duchefs  of  Tufcany  ;  the 
flyle  of  thefe  compofitions  is  remarkably  charts  and  pathetic,  the 
words  are  Italian,  and  purport  to  be  hymns  and  penitential  fongs  to 
the  number  of  thirty  *.     The  following  is  the  ninth  of  them. 

*■  The  dedication  of  the  book  is  thus  dated.  *  Di  Roma  il  primo  giorno  del  anna 
.  *   1594  ;'  from  whence  it  may  be  colleded  that  this  was  his   lafl  work,  and  that  it  was. 
publifhed  juit  a  month  before  his  deceafe,  for  he  died  on  the  fecond  day  of  February  ia« 
that  year. 


Chap.  J.      AND    PRACTICE    OF    MUSIC. 


f:^ 


I 


1 


■  i    o  "  I  'I   -'IS 


185 

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HISTORY    OF    THE    SCIENCE      Bgok  H, 


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i88  HISTORY  OF  THE  SCIENCE      Bookll. 


1^ 

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cio-Pitainr! 


J.LE.sT-'iiSA. 


Chap.  I.       AND    PRACtlClE    OF    MUSIC.  189 

How  long  Paleftriha  enjoyed  the  honourable  employment  of  Mae- 
Klro  di  Cappella  in  the  church  of  St.  Peter  at  Rome  is  above  afcertain- 
ed,  by  the  year  of  his  appointment  and  that  of  his  death.  His  hido- 
rian  has  in  the  way  of  his  fundtion  mentioned  fome  particulars  rela- 
tive to  that  event;  he  fays  that  his  funeral  was  attended  not  only  by 
all  the  muficians  of  Rome,  but  by  a  multitude  of  the  people,  and 
was  celebrated  by  three  choirs,  who  fung  a  *  Libera  me  Domine,* 
in  five  parts,  of  his  own  compofition  ;  that  his  body  was  interred  in 
the  church  of  St.  Peter,  before  the  altar  of  St.  Simon  and  St.  Jude, 
a  privilege  due  to  the  merit  of  fo  great  a  man,  inclofed  in  a  fheet  of 
lead,  with    this   infcription,  *  Petrus   Aloyfius   Prajneftinus  Muficas 

*  Princeps.'  It  is  faid  that  an  original  pidure  of  him  is  yet  extant  \h 
the  archives  of  the  pope's  chiapel,  *and  it  is  probable  that  the  portrait 
which  Adami  has  given  of  him  is  taken  from  it.  By  this,  which  con- 
veys the  idea  of  a  man  reiiiarkably  mean  in  his  appearance,  it  feems 
that  his  bodily  endowments  bore  no  proportion  to  thofe  of  his  mind. 

To  enumerate  the  teftimonies  of  authors  in  favour  of  Paleftrina 
Would  be  an  endlefs  tafk.  John  Baptift  Doni  •before-mentioned,  a 
profoundly  learned  muficianj  and  whofe  partiality  for  the  mufic  of 
the  ancients  would  hardly  fuiFer  him  to  admire  that  of  the  moderns, 
feems  without  hefitation  to  acquiefce  in  the  general  opinion  that  he 
Was  the  greateft  man  in  his  time.     Agoflina  Pifa,  in  a  treatife  intitled 

*  Battutadella  Muficadichiarata,*  printed  at  Rome  in  161 1,  pag.  87* 
calls  him  the  honour  of  mufic,  and  prince  of  muficians.  He  elfe- 
Where  ftyles  him  •  Gian  Pietro  Aloifio  Paleftinaluce  et  fplendore  della 

*  mufica.'     Giovanni  Maria  Bononcini  alfo  calls  him  *  Principe  de 

*  mufica,'  as  does  Angelo  Berardi,  a  very  fenfible  and  intelligent  wri- 
ter ;  this  latter  alfo  ftyles  him  the  father  of  mufic,  and  as  fuch  he  is 
in  general  confidered  by  all  that  takeoccafion  tb  fpeak  of  him. 

The  following  catalogue  is  exhibited  for  the  ufe  of  fuch  as  may  be 
defirous  of  coUeding  the  works  of  this  great  man  :  *  Dodici  libri  di 

*  mefi^e  a  4.  5.  6.  8  voci,  (lamp,  in  Roma,  ed  in  Venet.  1554.  1567. 
'  1570-  1572-^15^2.  1585.  1590,  1591,  1594.  1599.  1600,  1601. 
«  Due  libri  d'  OfFertorii  a  5  Ven.  1594.      Due  libri  di  Motetti  a  4* 

*  Ven.  1571.  1606.     Quattro  libri  di  Motetti  a  5.  6.  7.  8  voci,  Ven. 

*  1575- 1580. 1584.  1586.  Magnificat  Stonum,  Rom2i59i.  Hymni 
«  totius  anni  4  VGC.  Romas  &  Ven.  1589.     Due  libri  di  madrig.  a  4 

*  voci,  Ven.  1586.  1605.     Due  libri  di  madrig.  a  5  voci,  Ven.  1594. 

*  Litanie  a  4.  Ven.  i6oq. 


190 


HISTORY    OF   THE    SCIENCE     Book  II. 


CHAP.         11. 


GIOVAlSnsri       MARIA       NANIlsrO 

DA    VALiLERANO, 

CAN  TO  RE     BELLA      CAPPELLA      PON  TIF  I  CIA 

MDLXXV^n  . 


GIOVANNI  Maria  Nanino,  a  condlfciple  or  fello^v-.ftudent  of 
Paleftrina,  having  been  being  brought  up  under  the  fame  niafter, 
namely  Rinaldo  del  Mell,  was  a  native  of  Vallerano,  and  in  1577  was 

ap- 


Chap.2.       AND    PRACTICE    OF   MUSIC.  191 

appointed  a  finger  In  the  pontifical  chapel,  where  are  preferved  many 
excellent  compofitions  of  his.  He  became  afterwards  Maeftro  di 
Cappella  di  S.  Maria  Maggiore,  and  was  probably  the  immediate  fuc- 
cefi^br  of  Palefirina  in  that  office.  Some  very  fine  madrigals  compofed 
by  him  are  to  be  found  in  the  colledions  publifhed  by  Andrew  Pe- 
vernage,  Pietro  Phalefio,  Hubert  Waelrant,  Pietro  Philippi,  and 
others,  with  the  titles  of  HarmoniaCelefte,  MuficaDivina,  Sympho- 
nia  Angelica,  and  Melodia  Olympica.  Padre  Martini  in  the  cata- 
logue of  authors  at  the  end  of  his  Storia  della  Mufica,  torn.  I.  takes 
notice  of  two  manufcripts  of  his  that  are  extant,  the  one  entitled 

*  Centccinquantafette  Contrapunte  e  Canoni  a  2,  3,  4,  5,  6,  7,  8.  1 1 

*  voci  fopra  del  Canto  fermo  intitolato  la  Bafe  di  Coflanzo  Fefta  ;'  the 
other  *  Trattato  di  Contrapunto  con  la  Regola  per  far  Contrapunto  a 

*  mente  di  Gio.  Maria,  e  Bernardino  Nanino  fuo  nipote.'  SebaRian 
Raval,  a  Spaniard,  and  a  celebrated  contrapuntift,  was  foiled  by  him 
in  a  competition  between  them  which  was  the  abler  compofer. 

It  has  already  been  mentioned  that  Nanino,  in  conjundion  with 
his  friend  Paledrino,  efiabliflied  at  Rome  a  fchool  for  the  ftudy  of 
mufic.  Antimo  Liberata,  who  relates  this  fad,  intimates  that  this 
feminary  was  frequented  by  many  eminent  profefix)rs  of  the  fcience, 
who  reforted  thither  for  improvement ;  and  that  Paleftrina,  befides 
taking  his  part  in  the  inftrudion  of  the  youth,  was  a  moderator  in 
the  difputes  that  fometimes  arofe  among  them.  The  fame  author 
adds,  that  among  the  many  excellent  muficians  that  were  there  edu- 
cated, Bernardino  Nanino,  a  younger  brother  of  him  of  whom  we 
are  now  fpeaking,  was  diftinguiflied  as  a  wonderful  genius,  and  as 
having  improved  mufic  by  the  introdudion  of  a  new  and  original 
ftyle ;  there  is  neverthelefs  nothing  extant  of  his  compofition  but  a 
work  printed  at  Rome  in   1620,  intitled,  *  Salmi  a  4  voci  per  le 

*  Domeniche,  Solennita  della  Madonna  et  Apofloli  con  doi  Magni- 

*  ficat,  uno  a  4  e  r  altro  a  8  voci.*  Antonio  Cifra  was  alfo  a  difci- 
plein  this  fchool. 


192 


HISTORY   OF   THE   SCIENCE      Bookl. 


I-ELICE         AISTERIO 
ROMAIST  O  , 
COlkIP  O  SIT  ORE      DEL.L.A      C  JlPPE  LLA  ,  POINTTIFICIA 

MDXCIV. 


Felice  Anerio,  a  difclple  of  the  elder  Nanino,  was  the  imme- 
diate fuccelTor  of  Paleftrina  in  the  ftation  of  compofer  to  the  pontifical: 
chapel  *.     He  had  the  charadler  of  an  excellent  contrapuntift ;  many 

*  The  following  account  of  his  appointment,,  and  the  ceremonies  attending  It,  is  cited 
by  Adami  from  the  book,  of  Ippolito  Gamboci,  the  puntatore  heretofore  mentioned,  with, 
a  remark  that  AntimoLtberata  had  little  reafon  to  fay  that  Paleftrina  was  the  laft  compofer 
to  the  chapel,  feeing  that  Anerio  fucceeded  him  in  that  honourable  employment. 

*  La  mattina  della  Domenica  delle  palme  venne  in  cappella  il  Sig.  Luca  Cavalcanti  maef- 

*  tro  di  camera  dell'  iliuftriiT.  e  reverendiff.  Sig.  Card.  Aldrobandini,  Nipote  di  N.  S.  papa 

*  Clemente  VIII.  e  diffi  al  collegio  da  parte  del  fuddetto  Sig.  Cardinale,  che  fua  fantita 

*  aveva  graziato  Meffer  Felice  Anerio  del  pofto  vacuto  per  la  morte  di  Pierluigi  da  Palefr 

*  trina,  e  che  lo  aveva  accettato  per  compofitore  della  cappella,  e  che  gia  godeva  la  provifionCy. 
'  c  perb  fua  Signoria  illuftriflima  pregava  il  collegio,  chelo  voleffe  accettare  in  dettopofto, 

*  e  che  Q.  coutcntafiero  tuiti  di  far  una  fede  di  quefta  ammifljone.  come  fu  fatto.' 

of 


ehap.2.       AND    PRACTICE    OF    MUSIC.  193 

of  his  compofitions  are  preferved  in  the  library  of  the  chapel,  and 
there  is  extant  a  valuable  colle(5tion  of  madrigals  by  him,  printed  at 
Antwerp  in  1 610. 


RTTGGIERO      OIOVAKEL.LI      DA     VKLLETRI,    MAESTRO 
DI    CAPPET.LA     DI    S.    LUIGl,  DI    S.  APOT.LINARB      E 
CANT .    DKT^LiA     CAPP  .    POlSTT  . 
MDXCIX  . 


RuGGiERo  GiovANELLi  was  mafter  of  the  chapels  of  St.  Lewis-^ 
mid    St.   Apollinare,   and   the   immediate  fuccefior    of  Paleflrina   in 
the    church  of  St.  Peter   at  Rome*;   and  alfo    a  finger  in   the  pon- 
tifical chapel:   a  coUedion  of  madrigals  by  him,  printed  at  Venice, 

*  By  this  it  {hould  feem  that  the  places  which  Paleflrina  held  were  at  his  deccafe  di- 
vided; for  Felice  Aneriois  txpiefsly  faid  to  have  fucceeded  him  as  Compofitore  delia  Cap- 
pel:a,  and  here  it  is  faid  that  Giovanclli  was  appointed  the  fuccefior  to  l\:leflrina  in  the. 
church  ot  St.  Peter,  of  which  Pakftriua  was-Maeftro  di  Cappella. 

Vol.  111.  C  c  is. 


194  HISTORY    OF    THE    SCIENCE      Book  W, 

is  extant ;  he  compofcd  alfo  many  maffes,  amongft  which  is  one  for 
eight  voices,  called  *  Veftiva  i  colli,'  taken  from  a  madrigal  with  thofe 
initial  words  of  Gianetto  Paleftrina,  which  is  much  celebrated. 
In  the  year  1581  a  book  appeared  in  the  world  with  this  filly  title, 

*  II  Teforo  illuminate,  di  tutti  i  tuoni  di  Canto  figurato,  con  alcuni 
«  belliflimi  fecreti  non  da  altri  piu  fcritti:  nuouamente  compofto  dal 

*  R.  P.  frate  illuminato  Aijguino  Brefciano,  dell*  ordiae  ferafico  d* 

*  ofleruanza.'  Notwithftanding  the  very  emphatical  title  of  this 
book,  it  contains  very  little  worthy  the  attention  of  a  curious  reader. 
The  author  is  lavifh  in  the  praifes  of  Marchettus  of  Padua,  and  Spa* 
taro,  and  of  his  irrefragable  mailer  Peter  Aron,  whofe  name  he  never 
mentions  without  that  extravagant  epithet. 

About  this  time  lived  Pietro  Pontio  of  Parma  ;  he  compofed  and 
publiflied,  about  the  year  1580,  three  books  of  maffes.  He  was  the 
author  alfo  of  a  boo'L  with  the  following  title,  *  Ragionamento  di  Mu-> 

*  fica  del  Rev.  M.  Don  Pietro  Pontio  Parmegiano.  ove  fi  tratta  de*  paf- 

*  aggidella  confonantie  &  diffonantie,  buoni  &.  non  buoni^  &del  mode 

*  di  far  Mottetti,  MefTe,  Salmi,  5c  altre  compofitioni ;  d'alcuni  aver- 

*  timcnti  per  il  contrapuntifta  6c  compofitore  6c  altre  cofe  pertinentL 
«  alia  mufica/  printed  at  Parma  1588,  in  quarto,  a  very  entertaining; 
dialogue,  and  replete  with  mufical  erudition. 

HoRATf  o  Vecchi  of  Modena  was  greatly  celebrated  for  his  vocaL 
compofitions  at  this  time  :  our  countryman  Peacham  was>  as  he  him- 
fclf  relates,  his  difciple  *.     He  compofed  JVlafles,  Cantiones  Sacrae^ 

•  This  writer  has,  in  his  ufual  quaint  mariner,. given  a  (hort  chara£ler  of  Vecchi  and  his- 
works,  which,  as  he  was  a  man  of  veracity  and  judgment,  may  be  depended  on.  '  I  bring. 
'  you  now  mine  owne  mafter  Horatio  Vecchi  of  Modena,  befide  goodnefs  of  aire,  moft. 

*  pleafing  of  all  other  for  his  conceipt  and  variety,  where  with  all  his  works  are  fingularly, 

*  beautified,  as  well  his  madrigals  of  five  and   fix  parts,  as   thofe  his  canzonets  printed 

*  at  Korimberge,  wherein  for  tryall   fing  his  *'  Viuo  in.  fuoco  amorofo  Lucretia  mia,'*^ 

*  where  upon  "  lo  catenato  moro,"   with  excellent  judgment  bee  drivetb  a  crotchet  tho- 

*  ro*  many  minims,  caufing  it  to  refemble  a  chaine  with  the  linkes  ;  againe  in  *  S'  io 
*'  potefi  raccor'  i  mei  fofpiri,"  the  breaking  of  the  word  Sofpiri  with  crotchet  and   crot- 

*  chet  reft  in  fighes  ;  and  that  *  fa  mi  un  canzone,"  &c.  to  make  one  fleep  at  noone  with. 

*  fundry  other  of  like  conceipt  and  pleafant  inuention  '     Compleat  Gentleman,  102. 
'ihe  Compleat  Gentleman  was  written  by  Henry  Peacham,  an  author  of  fome  note  in 

the  reign  of  James  1.     It  treats  of  nobility  in  general.     '  Of  the  dignity  and  necefiity  of 
'  learning  in  princes  and  nobilitie.     The  du^i^^  of  parents  in  the  education  of  their  chil- 

*  dren      Of  a  getitieman's  carriage  in  the  uniuerfitie.     Of  flile  in  fpeaking  and  v*-ritingof 

*  hiftory.     Of  cofniography.     Of  memorable  obfcrvations  in  the  furuey  of  the  earth.     Of 
'  geometry.     Of  poetry.     Of  muficke.     Of  (latuer,  and    medalis,  and  antiquities.      Of 

*  drawing  and  painting,  with  th-e  liues  of  painter.^.     Of  fundry  blazonnes  both  ancient 

*  arid  modt-m.     Of  armory,  or  blazing  atni«;s,  with  the  antiq^uity  o(  heralds.     Of  excr, 

*  Qfe 


Chap.  g.    AND    PRACTICE    OF    M  U  S  t  C.  195 

land  one  book  of  Madrigals,  which  are  very  fine,  but  he  deh'ghted 
chiefly  in  Canzonets,  of  which  he  compofed  no  fewer  than  feven  fets*. 
Milton,  who  loved  and  underftood  mufic  very  well,  feems  to  have 
entertained  a  fondnefs  for  the  compofitions  of  Horatio  Vecchi,  for 
in  his  Life,  written  by  his  nephew  Phillips,  and  prefixed  to  the  Eng- 
li(h  tranflation  of  his  State  Letters,  it  is  faid  that  when  he  was  abroad 
upon  his  travels  he  colleded  a  cheft  or  two  of  choice  mufic-books  of 
the  beft  mafters  flouriibing  at  that  time  in  Italy,  namely,  Luca  Ma- 
renzio,  Monteverde,  Horatio  Vecchi,  Cifra,  the  prince  of  Venofa, 
and  others. 

EuCharius  Hoffman,  con-redor  of  the  public  fchool  at  Stral- 
fund,  was  the  author  of  two  trads  on  mufic,  the  one  intitled  *  Mu- 
■  ficaj  pra<flic2  prsecepta,'  the  other  *  Dodtrina  de  tonis  feu  mocis 
*  mulicis,'  both  of  which  were  very  elegantly  printed  at  Ham- 
burg in  1584,  and  again  in  1588.  The  firft  of  thefe  is  of  the 
fame  kind  with  thofe  many  books  written  about  this  time  for 
the  inftrudion  of  children  in  the  elements  of  mufic,  of  which  an 
account  has  herein  before  been  given  ;  like  the  reft  of  them  it  is 
written  in  dialogue.  The  author  has  defintd  the  terms  prolatlon, 
time,  and  mode,  as  they  refer  to  menfuraJ  mufic,  in  a  way  that  may 

'  cife  of  body.  Of  reputation  and  carriage.  Of  traliaile.  Of  w^rre,*  and  of  many  other 
particulars,  to  which  is  added  the  Gentleman's  Exercife,  or  an  exquifite  Pia<Stice  for 
drawing  all  Manner  of  Beads,  making  Colours,  &c.  quarto,  1634.  This  book  abounds 
with  a  great  number  of  curious  particulars,  and  was  in  high  eftimation  with  the  gentry 
even  of  the  laft  age.  Sir  Charles  Sedley,  who  had  been  guilty  of  a  great  oflence  ag;iinfl:  good 
manners,  was  indifted  for  it,  and  upon  his  trial  being  afked  by  the  chief  juftice,  Sir  Robert 
Hyde,  whether  he  had  ever  red  the  book  called  theCompleat  Gentleman,  Sir  Charles  an- 
fwered,thatfavinghislord(biphehad  red  morebooksthan  himfclf.  Athen.  Oxon.  Ccl.  i  ico. 

Peacham  feems  to  have  been  a  travelling  tutor,  and  was  patronized  by  the  Howard 
family.  He  was  well  acquainted  with  Douland  the  luteniit  ;  and,  while  abroad,  was  a 
fcholar  of  Horatio  Vecchi,  as  himfelf  teftifies  in  the  above  note,  and  probably  the  bearer 
bf  that  letter  from  Luca  Marenzio  to  Douland,  mentioned  in  a  fubfequent  account  of  that 
mailer,  and  inferted  in  the  account  hereafter  given  of  Douland.  Btfiiics  the  Compleat 
Gentleman,  Peacham  publifhed  a  Colledion  of  EmblemS)  entitled  iWincrva  Britann.?,  or 
a  Garden  of  Heroical  Deuifes,  with  moral  reflexions  in  verfe,  and  a  diverting  little  '  ook 
entitled  the  Worth  of  a  Penny.  In  his  advanced  age  he  was  reduced  to  poverty,  and  lub- 
fifted  by  writing  thofe  little  penny  books  which  are  the  common  amufement  of  children. 

*  The  word  Canzonet  is  derived  from  Canzone,  uhich  lignifics  in  general  ;)  iong,  but 
more  particularly  a  fong  in  parts,  with  fuguing  paflages  therein.  I  he  C  ai.zonct  is  a 
Compofition  of  the  kind,  but  (horter  and  lefs  artificial  in  its  contexture.  Anclrca  Adami 
afcribes  the  invention  of  this  fpecies  of  mufical  compofition  to  Akflandro  Rornano, 
furnamed  Alcflandro  dalla  Viola,  from  his  exquifite  hand  on  that  inftrumcnt,  and  a  r.nger 
in  the  pontifical  chapel  in  the  year  1560.  Oflerv.  per  ben.  reg.  il  Coro  de  i  Cant  della 
Cap.  Pom.  pag.  i74i 

C  C  2  be 


196  HISTORY    OF    THE    SCIENCE       Book  H 

be  ufeful  to  thofe  who  would  underfiand  the  Introdudllon  to  Practi- 
cal Mufic  of  our  countryman  Morley ;  for  of  prolation  he  fays  it  is  a 
rule  by  which  is  eflimated  the  value  of  femibreves  :  time  he  fays 
confiders  the  value  of  breves  ;  and  mode,  that  of  the  long  and  the 
large.     In  his  dodlrine  of  the  tones  he  feems  to  follow  Glareanus. 

ToMASSo  LoDovico  DA  VICTORIA,  a  Spaniard,  Maeftro  di  Cap- 
pella  of  St.  Apollinare,  and  afterwards  a  finger  in  the  pontifical  cha-^ 
pel,  was  an  excellent  compofer.  He  publi(hed  a  fet  of  Mafles  in 
1583,  dedicated  to  Philip  II.  king  of  Spain,  and  many  other  cccle- 
fiaftical  works,  one  of  the  beft  whereof  is  that  called  La  MefTa  de' 
Morti.  Peacham  fays  that  he  refided  in  the  court  of  the  duke  of 
Bavaria  about  the  year  1594  ;  and  that  of  his  Latin  fongs  the  Seven 
Penitential  Pfalms  are  the  bcfl:  :  he  commends  alfo  certain  compofi- 
tions  of  his  to  French  words,  in  which  is  a  fong  beginning  ^  Su- 
*  fanna  un  jour.'  He  ilyles  him  a  very  rare  and  excellent  author, 
adding  that  his  vein  is  grave  and  fweet.  Compleat  Gentleman,  loi, 
edit.   1661. 

Luc  A  Marenzio,  a  mod  admirable  compofer  of  motets  and 
madrigals,  fiouri{l:ied  about  this  time  j  he  was  a  native  of  Coccalia 
in  the  diocefe  of  Brefcia.  Being  born  of  poor  parents,  he  was  main- 
tained and  intruded  in  the  rudiments  of  literature  by  Andrea  Mafet- 
to,  the  arch-priefi;  of  the  place,  but  having  a  very  fine  voice,  arid 
difcovering  a  (Irong  propenfity  to  mufic,  he  was  placed  under  the 
tuition  of  Giovanni  Contini,  and  became  a  moft  excellent  compofer, 
particularly  of  madrigals.  He  was  firfl;  Maeftro  di  Cappella  to  Car- 
dinal Luigi  d'  Efte,  and  after  that  for  many  years  organift  of  the 
pope's  chapel.  He  was  beloved  by  the  whole  court  of  Rorhe,  and 
particularly  favoured  by  Cardinal  Cinthio  Aldrobandini,  nephew  of 
Clement  VIII.  This  circumftance,  which  is  related  by  Adami,  does 
not  agree  with  the  account  of  our  countryman  Peacham,  who  fays 
.  that  after  he  had  been  feme  time  at  Rome  he  entertained  a  criminal  paf- 
fion  for  a  lady,  a  relation  of  the  Pope,  whole  fine  voice  and  exquifite 
hand  on  the  lute  had  captivated  him,  that  he  thereupon  retired  to  Po- 
land, where  he  was  graciouOy  received,  and  ferved  many  years,  and 
that  during  his  (lay  there  the  queen  conceived  a  defire  to  fee  the  lady 
who  had  been  the  occafion  of  his  retreat,  which  being  communicated 
to  Marenzio,  he  went  to  Rome  with  a  refolution  to  convey  her  from 
thence  into  Poland,  but  arriving  there,  he  found  the  refentment  of 
the  Pope  fo  ftrong  againil  him,  that  it  broke  his  heart.  Adami  men- 
tions 


Chap.  2.      AND    PRACTICE    OF    MUSIC.  ti^y 

tions  his  retreat  to  Poland,  but  omits  the  other  circumflancesf  and 
fixes  the  time  of  his  death  to  the  twenty-fecond  day  of  Augufl:,  1 599. 
Walther  adds,  that  before  his  departure  for  Poland  he  received  the  ho- 
nour of  knighthood,  but  fays  not  at  whofe  hands  j  and  that  on  his  ar- 
rival there  he  had  an  appointment  of  a  thoufand  fcudi  per  annum  j  and, 
without  taking  notice  of  his  amour,  afcribes  his  quitting  that  coun- 
try to  his  conftitution,  which  was  too  tender  to  refift  the  cold.  The 
following  verfes  to  his  memory  were  written  by  Bernardino  Steifonio, 
a  Jefuit. 

Vocum  opifex,  numeris  mulcere  Marentius  aures 

Callidus,  et  blandje  tendere  fila  Chelys, 
Frigore  lethaso  villus  jacet.     Ite  fupremani 

In  feriem  mxdi  funeris  exequias  ; 
Et  charis  et  blandi  fenfus  aurita  voluptas, 

Et  chorus,  et  frad^  turba  canora  lyrse  : 
DenfsE  humeris,  udae  lachrymis,  urgete  fepulchrum^ 

Quis  fcit,  an  hinc  referat  vox  rediviva  fonum  ? 
Sin  tacet,  ille  choros  alios  inftaurat  in  aftris, 

Vos  decet  amiffo  conticuiffe  Deo. 

Sebaflian  Raval,  a  Spaniard,  and  who  publlQied  his  firft  book  of 
inadrigals  for  live  voices,  in  the  dedication  thereof  ftyles  him  a  di- 
vine compofer.  Peacham,  who  probably  was  acquainted  with  him, 
fays  he  was  a  little  black  man.  He  correfponded  with  our  country- 
man Douland  the  lutenift,  as  appears  by  a  very  polite  letter  of  his 
writing,  extant  in  the  preface  to  Douland's  Firfl  Booke  of  Songes  or 
Ayresof  four  Partes,  with  Tableture  for  the  Lute,  and  inferted  page 
325  of  this  volume. 

The  madrigals  of  Marenzio  are  celebrated  for  fine  air  and  inven- 
tion. Peacham  fays  that  the  firft,  fecond,  and  third  parts  of  hrs 
Thyrfis,  *  Veggo  dolce  mio  ben,  *  Chi  fa  hoggi  il  mio  Sole,'  and 
«  Cantava,*  are  fongs  the  Mufes  themfelves  might  not  have  been 
afhamed  to  have  compc^fed  *.  This  that  follows  is  alfo  ranked  among 
the  beft  of  his  compofitions. 

*  Thefe  are  all  adapted  to  Englidi  words,  the  firft,  *  Tirfi  morir  volea,'  to  a  tranflation 
of  the  Italian  ;  the  fecond,  *  Veggo  dolce  mio  ben,'  to  the  words,  *  Farewell  cruel  and 
*  unkind  ;'  the  third  to  <  What  doth  my  pretty  darling?'  and  the  lafl:  to  '  Sweet  finging 
<  Amaryllis,'  and  are  to  be  found  in  the  Mufica  Tranfalpina,  of  which  it  is  to  be  noted 
there  are  two  parts,  and  in  a  colledion  of  Italian  madrigals  with  EngliQi  words,  publilh- 
ed  by  Thomas  Watfon  in  1589,  as  is  alfo  another  mentioned  by  Peacham,  *  1  rauft 
'  depart  all  haplefs,'  tranflated  from  *  lo  partiro.' 


98 


HISTORY   OF   THE   SCIENCE     Bookll. 


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Chap.2.     AND    PRACTICE    OF    MUSIC, 


199 


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200 


HISTORY    OF    THE    SCIENCE      Book  I!. 


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.2.     AND    PRACTICE    OF    MUSIC. 


201 


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m^a  non    per  mio     de    -     fi 


ma  non    permio     de    -    f  i  -     -     » 

LUCA    MARENZIO 


Vql.  m. 


D    d. 


202  HISTORY    OF    THE    SCIENCE       Book  II. 

Andreas  Raselius,  chanter  in  the  college  of  Ratifbon,  pub- 
liflied  at  Noritiiberg,  in  1589,  •  Hexachordum,  feu  queftiones  mu- 
ficiE  pradicas.'  This  book  is  very  methodically  written,  but  contains 
little  more  than  is  to  be  found  in  others  of  the  like  kind,  except  fome 
(hon  examples  of  fugue  from  Orlando  Laffo,  Jufquin  De  Prez,  and 
ether  authors,  which  in  their  v/ay  have  great  merit. 

Caspar  Krumbhorn  was  a  native  of  Lignitz  in  Silefia,  and  was 
born  on  the  twenty-eighth  day  of  Odlober,  1542.  In  the  third  year 
of  his  age  he  loft  his  fight  by  the  fmall-pox,  and  became  totally 
blind.  His  father  dying  foon  after,  his  mother  married  one  named 
Stimmler,  which  gave  occafion  to  his  being  called  Blind  Stimmler, 
Krumbhorn  had  a  brother  named  Bartholomew,  who  was  confider^ 
ably  older  than  hirafelf,  and  was  paftor  of  Waldau ;  and  he  difco^ 
vering  in  his  younger  brother,  as  he  grew  up,  a  ftrong  propenfity  to 
mufic,  placed  him  under  the  care  of  Knobeln,  a  famous  mu- 

fician  and  compofer  at  Goldberg,  of  whom  he  learned  to  play  firft 
on  the  flute,  next  on  the  violin,  and,  laft  of  all,  on  the  harpfichord, 
on  each  of  which  inftruments  he  became  fo  excellent  a  performer, 
that  he  excited  the  admiration  of  all. that  heard  him.  The  fame  of 
thefe  his  excellencies,  as  alfo  of  his  fkill  in  compofition,  had  reached 
the  ears  of  Auguftus,  eledor  of  Saxony  3  who  invited  him  to  Drefden, 
and  having  heard  him  perform,  and  alfo  heard  fomc  of  his  compofi- 
tions  of  many  parts  performed  by  himfelf  and  others  5  and  being 
ftruck  with  fo  extraordinary  a  phenomenon  as  a  young  man  deprived 
of  the  faculty  of  feeing,  an  excellent  performer  on  various  inftruments, 
and  deeply  fkilled  in  the  art  of  pradlical  compofition,  he  endeavoured, 
by  the  offer  of  great  rewards,  to  retain  him  in  his  fervice;  but,  pre- 
ferring his  own  country  to  all  others,  Krumbhorn  returned  to  Lignitz 
in  the  twenty-third  year  of  his  age,  and  was  appointed  organift  of  the 
church  of  St.  Peter  and  Paul  there,  which  ftation  he  occupied  fifty-fix 
years,  during  which  fpace  he  had  many  times  the  dire<5tion  of  the  mu- 
fical  college.  He  died  on  the  eleventh,  day  of  June  1621,  and  was 
buried  in  the  church  of  which  he  was  organift,  where  on  his  tomb 
was  engraven  the  following  epitaph  : 

Vis  fcire  viator 

Cafparum   Krumbhornium 

Lign.  Reip.  civem  honoratum, 

qui 

cum 


Chap,  2.    AND    PRACTICE    OF    MUSIC,  aoj 

cum  tertio  setatls  anno  variolar. 

ex  malignitate  vifu 

privatus, 

Mufices  dehinc  fcientia  &  praxi 

admiranda 

prsclaram  fibi  nominis 

Exiftimationem  domi  forifque 

comparaffet, 

Conjugii  optabills  felicitate, 

Bonorum  etiam  Magnatum, 

Dei  imprimis  gratia  evedlus 

Singulari  fortem  moderatione 

Ad  ann.  ufque  LXXIIX  tolcravit 

Organic,  munus  apud  Eccles.  P.  P. 

Annos  LVI.  non  fine  indu{lria3 

teftimonio  geffifTel, 

Pie  demum  beateque  A.  C.   i62r. 

1 1  Jun.  in  Dom.  obdormivit. 

Anna  &  Regina  Filias,  earumque 

Mariti  fuperftites 

Parentem  Socerumque  B.  M, 

hoc  fub  lap.  quem 
Vivens  fibi  ipfimet  deftinaverat 
honorifice  condiderunt. 
Nofti,  quod  voluit  quicunque  es, 

NOSCE    TE    IPSUM. 

It  is  faid  that  Krumbhorn  was  the  author  of  many  mufical  compo- 
fitions,   but  it  does  not  appear  that  any  of  them  were  ever  printed. 

Walther,  in  his  Lexicon,  has  an  article  for  Tobias  Krumbhorn,. 
organift  at  the  court  of  George  Rudolph,  duke  of  Lignitz,  and  a  great 
traveller,  who  died  in  the  year  1617,  aged  thirty-one  years.  As 
Cafpar  and  Tobias  Krumbhorn  were  contemporaries,  and  of  the  fame 
city,  it  is  not  improbable  that  they  were  relations  at  lead,  if  not  bro- 
thers ;  although  nothing  of  the  kind  is  mentioned  in  the  accounts- 
given  by  Walther  of  either  of  them. 


D  d  2  Clauds 


204 


HISTORY   OF    THE    SCIENCE 


CHAP.         IIL 


MrKxcvin. 


CLAUDE  leJeune,  a  native  of  Valenciennes,  was  a  celebrated  mo- 
fician,  and  compofer  of  the  chamber  to  Henry  IV.  of  France*  He 
was  the  author  of  a  work  intitled  Dodecachorde,  being  an  exercife  or 

praxis 


Chap.  3 V    AND    PRACTICE    OF    MUSIC*  205 

praxis  on  the  twelve  modes  of  Glareanus  j  Monf.  Bayle  cites  a  paflage 
from  the  Sieur  D'Embry's  Commentary  on  the  French  tranilation  of 
the  Hfe  of  ApoUonius  Tyanasus,  relating  to  this  work,  to  this  effed: : 

*  I  have  fometimes  heard  the  Sieur  Claudin  the  younger  fay,  who, 

*  without  difrefpeft  to  any  one,  far  exceeded  all  the  muficians  of  the 

*  preceding  ages,  that  an  air,  which  he  had  compofed  with  its  parts, 
■  was  fung  at  the  folemnity  of  the  late  duke  of  Joyeufe*s  marriage  in 

*  the  time  of  Henry  III.  king  of  France  and  Poland,  of  happy  me- 

*  mory,  whom  God  abfolve  ;  which  as  it  was  fung  made  a  gentleman 

*  take  his  fword  in  hand,  and  fwear  aloud  that  it  was  impolTible  for 

*  him  to  forbear  fighting  with  fomebody.     Whereupon  they  began  to 

*  fing  another  air  of  the   Subphrygian   mode,  which  made  him  as 

*  peaceable  as  before  ;  which   I  have  had  fince  confirmed  by  fome 

*  that  were  prefent  :■*— fuch  power  and  force  have  the  modulation,  mo- 

*  tion,  and  management  of  the  voice  when  joined  together,  upon  the 

*  minds  of  men.     To  conclude  this  long  annotation,  if  one  would 

*  have  an  excellent  experiment  of  thefe  twelve  modes,  let  him  fing 

*  or  hear   fung,    the    Dodecachorde   of    Claudin   the   younger,    of 

*  whom  I  have  fpoken  above,  and  I  afllire  myfelf  he  will  find  in  it 

*  all  thofe  figures  and  variations  managed  with  fo  much  art,  harmony, 
'  and  fkill,  as  to  confefs  that  nothing  can  be  added  to  this  mafter-. 

*  piece  but  the  praifes  that  all  the  lovers  of  this  fcience  ought  to  be- 

*  flow  upon  this  rare  and  excellent  man,  who  was  capable  of  carry- 

*  ing  mufic  to  the  utmoft  degree  of  its  perfedion,  if  death  had  not 

*  fruflrated  the  execution   of  his   noble  and  profound  defigns  upon 

*  this  fubjed  *.' 

Claude  le  Jeune  was  alfo  the  author  of  a  work  entitled  Meflanges, 
confifting  of  vocal  compofitions  for  4,  5,  6,  8,  and  10  voices,  to  La- 
tin, Italian,  and  French  words,  many  of  them  in  canon,  printed  in 
1607.  A  fecond  part  of  this  work  was  publKhed  in  1613  by  Louis 
Mardo,  a  relation  of  the  author,  and  dedicated  to  Monf.  de  la  Planch, 
an  advocate  in  the  parliament  of  Paris.  But  the  mofl  celebrated  of 
his  compofitions  are  his  Pfalms,  which,  being  a  Hugonot,  he  com- 
pofed to  the  words  of  the  Verfion  of  Theodore  Beza  and  Clement 
Marot,  and  of  thefe  an  account  will  hereafter  be  given, 

•  Bayle  art,  Goudimel,  in  not. 

Ercolb 


2o6 


HISTORY   OF    THE    SCIENCE      Book  II, 


SIG.  C  AVAL  IE  RE 
HERCOLE     BOTTRTGARO. 
MDCir. 


Hercole  Bottrigaro,  a  native  of  Bologna,  publillied,  in  1593* 
'  II  Patrizio,  cvero  de'  tetracordi  armonici  di  Ariftofleno^  parere  et 
*  vera  dimoflratione.'  The  occafion  of  writing  this  book  was  as  fol- 
lows :  one  Francefco  Patricio,  a  man  of  great  learning*,   had  writtea 

*  Patricio  was  of  Offero  in  Dnlmatia.  In  his  youth  he  travelled  much  in  Afia  ;  then 
fettled  in  the  ifland  of  Cyprus,  where  he  purchafed  a  large  eflate,  but  loft  every  thing 
when  the  Venetians  loft  that  kingdom,  fo  that  he  was  obliged  to  go  to  Italy,  and  there 
live  on  his  wit.  He  red  Platonic  philofophy  in  the  univerfity  of  Ferrara,  and  at  laft  died 
at  Piome,  much  efteemed  and  carefted  by  ail  lovers  of  literature,  though  he  had  advanced 
fome  opinions  in  the  mathematical  fcience,  and  about  Italian  language,  that  were  then, 
and  ftill  are,  thought  abfurd.  He  was  an  Academici:in  of  the  Crufca,  and  one  of  the 
great  defenders  of  Ariofto  againft  thofe  that  preferred  Taffo  to  him.  Baretti's  Italian  Li» 
brary,  328^ 

a  book 


Chap.  3.       AND    PRACTICE    OF    MUSIC.  207 

a  book  intitled  *  Delia  poetica,  deca  iftoriale,  deca  dlfputata, 
wherein,  difcourfing  on  mufic,  and  of  the  Genera  in  particular,  he 
gives  the  preference  to  that  divifion  of  the  tetrachords  which  Euclid 
had  adopted.  Bottrigaro,  who  appears  to  have  been  an  Ariftoxenean, 
enters  into  an  examination  of  this  work;  and,  not  without  fome  fe- 
vere  reflexions  on  his  adverfary,  contends  for  that  divifion  of  the  te- 
trachord  in  each  of  the  genera  which  diflinguKhes  the  fyflem  of  Arif- 
toxcnus  from  that  of  Euclid.  This  book,  fome  few  years  after  its 
publication,  Patricio  being  then  dead,  was  very  feverely  criticifed  by 
Giovanni  Maria  Artufi,  of  whom  mention  has  already  been  made  in 
the  courfe  of  this  work,  who,  with  a  becoming  zeal  for  the  reputation 
of  Patricio,  undertook  to  vindicate  him,  as  well  againft  Bottrigaro^  as 
another  writer  named  Annibale  Meloni,  a  mufician  of  Bologna,  the 
author  of  a  book  intitled,   *  II  Defiderio,  overo  de'  Goncerti  di  varii 

*  Strumenti  muficali,  Dialogo  di  Alemanni  Benelli  *.'  But  the  moft 
celebrated  of  Bottrigaro's  work  is  that  intitled,  *  II  Melone,  difcorfo 

*  armonico  del  M.  111.  Sig.  Cavaliere  Hercole  Bottrigaro,  ed  II  Melone 

*  fecondo,  confiderazioni  muficali  del  medefimo  fopra  un  difcorfo  di 
'  M.  Gandolfo  Sigonio  intorno  a*  madrigali   &   a'   libri   dell'  antica 

*  mufica  ridutta  alia  moderna  prattica   di  D.  Nicola  Vicentino  e  nel 

*  fine  eflb  Difcorfo  del  Sigonio.*    Ferrara,   1602. 

In  this  book,  which  is  profefTedly  an  examen  of  that  of  Vicentino, 
the  author  relates  at  large  the  controverfy  between  him  and  Vincen- 
tio  Lufitano.  He  charges  them  both  with  vanity  and  inconfiftency, 
but  feems  to  decide  in  favour  of  the  former.  The  remark  he  makes  on 
the  condudt  of  Bartolomeo  Efgobedo  and  Ghifiino  D'Ancherts  is  very 
judicious,  for  the  fentence  given  by  them,  and  publifhed  with  fo 
much  folemnity,  affigns  as  the  motive  for  condemning  Vicentino,  that 
he  had  not,  either  by  words,  or  in  writing,  given  the  reafons  of  his 
opinion.  Bottrigaro's  obfervation  is  this,  feeing  then  that  Vincentino 
had  not  declared  the  foundation  of  his  opinion,  it  was  their  duty  as 
judges  to  have  proceeded  to  an  enquiry  whether  it  had  any  founda- 
tion or  not,  and,  agreeable  to  the  refult  of  this  enquiry,  to  have  given 
fentence  for  or  againfl:  him  ;  and  for  not  purfuing  this  method  he 
flicks  not  to  accufe  them  of  partiality,  or  rather  ignorance  of  their 
duty,  as  the  arbitrators  between  two  contending  parties. 

*  A  fiaitious  name  made  up  by  the  tranfpofition  of  the  letters  of  the  author's  true  name, 
as  related  at  large  in  a  fubfequent  part  of  this  volume. 

Bottri- 


2c8  HISTORY    OF    THE    SCIENCE       Book  II. 

Bottrlgaro  appears  to  have  been  a  man  of  rank ;  the  letters  to  him-» 
many  of  which  he  has  thought  it  neceffary  to  print,  befpeak  as  much. 
Walther  ftyles  him  a  count ;  and  his  11  Melone,  written  in  anfwcF 
to  a  letter  of  Annibale  Meloni,  is  thus  dated,  *  Delia  mia  a  me  dilet- 
*  teuole  villa  nel  commune  di  S.  Alberto.'  Notwithftanding  this  cir- 
cumftancc,  and  that  he  was  not  a  muiician  by  profeflion,  he  ap- 
pears to  have  been  very  well  {killed  in  th^  fcience.  It  feems  that  he 
entertained  ftrong  prejudices  in  favour  of  the  ancient  mufic,  and  that 
he  attempted,  as  Vicentino  and  others  had  done,  to  introduce  the 
chromatic  genus  into  practice,  but  with  no  better  fuccefs  than  had  at- 
tended the  endeavours  of  others.  He  corrected  Gogavinus's  Latin 
verfion  of  Ptolemy  in  numberlefs  inilances,  and  that  to  fo  good  a 
purpofe,  that  Dr.  Wallis  has  in  general  conformed  to  it  in  that  tranf- 
lation  of  the  fame  author,  which  he  gave  to  the  world  many  years 
after.  He  alfo  tranflated  into  Italian,  Boetius  De  Muiica,  and  as 
much  of  Plutarch  and  Macrobius  as  relates  to  mufic  j  befides  this  he^ 
made  annotations  on  Ariftoxenus,  Franchinus,  Spataro,  Vicentino> 
Zarlino,  and  Galilei,  and,  in  fliort,  on  almofl  every  mufical  treatife 
that  he  could  lay  his  hands  on,  as  appears  by  the  copies  which  were 
once  his  own,  and  are  now  repofited  in  many  libraries  in  Italy.. 

It  is  to  be  lamented  that  the  writings  of  Bottrigaro  are,  for  th3 
moft  part,  of  the  controverfial  kind,  and  that  the  fubjeds  of  difpute 
between  him  and  his  adverfaries  tend  fo  very  little  to  the  im^- 
provement  of  mufic.  If  we  look  into  them  we  fhall  find  him  taking 
part  with  Meloni  againfl:  Patricio,  and  cantending  for  a  pradice 
which  the  ancients  themfelves  had  exploded  ;  and  in  the  difpute 
with  Gandolfo  Sigonio  he  does  but  revive  the  controverfy  which 
had  been  fo  warmly  agitated  between  Vincentino  and  Vincentio 
Lufitano:  and  though  he  feems  to  cenfure  that  determination  of  the 
judges  Bartolomeo  Efgobedo,  and  Ghifilino  Dancherts,  by  which 
the  former  was  condemned,  he  leaves  the  queftlon  jufl;  as  he  found  it. 

Of  Bottrigaro's  works  it  is  faid  that  they  contain  greater  proofs  of 
his  learning  and  skill  in  mufic  than  of  his  abilities  as  a  writer,  his 
ftyle  being  remarkably  inelegant  ;  neverthelefs  he  afFeded  the  cha- 
rader  of  a  poet,  and  there  is  extant  a  colledion  of  Poems  by  him,  ia 
o6tavo,  printed  in  1551.  Walther  reprefcnts  him  as  an  able  mathe- 
matician^ and  a  collector  of  rarities,  and  fays  that  he  was  pofTefi^ed  of 
a  cabinet,  which  the  emperor  Ferdinand  II.  had  a  great  defire  to.> 
purchafe.     He  died  in  1609.. 


Chap.  3-      AND    PRACTICE    OF    MUSIC.  209 

We  meet  with  the  name  of  LuDovicus  Brooman,  an  excellent 
mnfician,  who  flourifhed  towards  the  end  of  the  fixteenth  century, 
and  died  at  Bruffels  in  1597.  Gerard  Voffius  has  given  him  a  place 
in  his  Catalogue,  and  he  is  elfewhere  ftyled  Mufices  Princeps.  The 
misfertune  of  his  being  blind  from  his  nativity  might  poflibly  contri- 
bute to  exalt  his  character  5  for  there  are  no  compofitions  of  his  ex- 
tant, at  leaft  in  print.  Some  remarkable  inftances  of  blind  perfons 
who  have  been  excellent  in  mufic,  might  lead  to  an  opinion  that 
the  privation  of  that  fenfe  was  favourable  to  the  ftudy  of  it :  in  the 
cafe  of  Salinas  it  feems  to  have  been  no  impediment  to  the  deepell: 
refearch  into  the  principle  of  the  fcience.  Cafpar  Krumbhorn  of 
Lignitz,  and  Martini  Pefenti  of  Venice,  are  inftances  to  the  fame 
^purpofe  J  the  former  of  thefe  being  an  excellent  organift  and  a  compo-" 
fer  of  church-mufic,  and  the  latter  a  compofer  of  vocal  and  inftrumeii- 
tal  mufic  of  almofl  all  kinds ;  and  both  thefe  perfons  were  blind,  the 
one  from  his  infancy,  and  the  other  from  his  nativity  ;  and  it  is  well 
known  that  the  famous  Sebaftian  Bach  and  Handel,  perhaps  the  two 
beflorganiftsin  the  world,  retained  the  power  both  of  ftudy  and  pradice 
^many  years  after  they  werefeverally  deprived  of  the  fenfe  of  feeing. 

Valerio  Bona  of  Milan,  publifhed,  in  1595,  *  Regole  del  con- 

*  traponto,  et  compofitione  brevemente  raccolte  da  diuerfi  Auttori. 
'*  Operetta  molto  facile  &  utile  per  i  fcolari  principianti.'  The  author 
takes  occafion  to  celebrate  as  men  of  confummate  fkill  in  mufic,  Cy- 
prian deRorc,  Adrian  Willaert,  Orlando  dc  LalTo,  Chriftopher  Mo- 
rales, and  Paleftrina.  The  charaderof  his  book  is,  that  it  is  remark- 
able for  the  goodnefs  of  its  flyle  and  language.  The  author  was  an 
ecclefiaftic,  and  a  practical  compofer,  as  appears  by  a  catalogue  of  his 
•works  in  the  Mufical  Lexicon  of  Walther  j  they  confifl:  of  Motets, 
Mafles,  the  Lamentations  of  Jeremiah,  Madrigals,  Canzonets,  and 
other  vocal  compofitions. 

LoDovico  ZACConi,  an  AuguAine  monk  of  Pefaro,  and  mufician 
to  the  duke  of  Bavaria,  was  the  author  of  a  valuable  work,  in  folio, 
printed  at  Venice  in    1596,  with  the  following  title,  *  Prattica  di 

*  mufica  utile   et   necciliiria  fi  al  compofitore  per  cornporre   i   canti 

*  fuoi  regolatamente,  fi  anco  al  cantore  per  aflicurarfi  in  tutte  le  cofe 

*  cantabili.' 

This  book  of  Zacconi  is  juftly  eflcemed  one  of  the  mofl  valuable 

treatifes  on  the  fubjed;  of  pradical  mufic  extant.     Morley  appears  to 

Vol.  IIL  E  e  have 


210  HISTORY    OF    THE    SCIENCE       Book  H. 

have  been  greatly  Indebted  to  the  author  of  it,  whom  he  calls  Fryer 
Lowyes  Zaccone,  and  cites  frequently  in  his  Introdudiion  to  Practi- 
cal Mufic. 

In  the  courfe  of  his  work  Zacconi  feenis  to  have  declined  all  en- 
quiry into^  the  mufic  of  the  ancient  Greeks,  and  to  have  been  very 
little  folicltous  about  the  inveftigation  of  ratios  j  his  v^^ork  feems  to 
be  calculated  for  the  improvement  of  pradical  mufic,  and  therefore 
contains  nothing  relating  to  the  theory  of  the  fcience. 

Zarlino's  w^orks  feem  to  be  intended  for  the  ufe  of  philofophers, 
but  this  of  Zacconi  abounds  with  precepts  applicable  to  practice,, 
and  fuited  to  the  capacities  of  fingers  and  men  of  ordinary  endow- 
ments. Among  a  great  number  of  direcftions  for  the  decent  and  or- 
derly performance  of  choral  fervice,  he  recommends  a  careful  atten- 
tion to  the  utterance  of  the  vowels ;  which  paflage  it  feems  Morley 
had  an  eye  to  wken  he  complaiaed,  as  he  does  in  his  Introdudion,, 
pag.  179,  in  thefe  words  1  *  The  matter  is  now  come  to  that  fi:ate,, 

*  that  though  a  fong  be  never  fo  well  made,  and  never  fo  aptly  ap- 
^  plied  to  the  words,  yet  (hall  you  hardly  find  fingers  to  exprefs  it  as 

*  it  ought  to  be,  for  moft  of  our  churchmen,  fo  they  can  cry  louder 

*  in  the  quier  than  their  fellowes,  care  for  no  more,  whereas  by  the. 

*  contrarie  they  ought  to  fiudie  how  to  vowell  and  fing  cleane,  ex* 

*  prefling  their  words  with  devotion  and  pafilon,  whereby  to  draw 
«  the  hearer,  as  it  were  in  chalnes  of  gold  by  the  eares,  to  the  con-- 

*  fideratlon  of  holy  things.* 

In  the  fixty-feventh  chapter  of  the  firfl  book  Zacconi  enumerates 
the  necefi^ary  qualifications  of  a  chapel-mafter. 

In  the  thirty-eighth  chapter  of  the  fecond  book  he  fpeaks  of  thc- 
mafs  of  Jufquin  De  Prez,  *  Le  Homme  arme,'  mentioned  by  Gla- 
reanus,  Salinas,  Doni,  and  other  writers,  as  one  of  the  rnoft  excel- 
lent compofitions  of  the  time.  This  he  does  to  introduce  a  mafs  o£ 
Paleftrina  with  the  fame  title,  which  he  gives  at  length,  with  his 
own  remarks  thereon. 

The  third  book  is  on  the  fubjed  of  proportion,  which  he  has  ex- 
plained and  illuftrated  by  a  variety  of  examples  from  the  bed:  authors. 

At  the  end  of  the  fourth  and  laft  book  he  enumerates  the  feveral. 
mufical  inftfuments  in  ufe  in  his  time,  with  the  compafs  of  notes  proper, 
to  each  j  in  his  declaration  whereof  it  is  remarkable  that  he  makes 
bb  the  limit  of  the  fuperacutes,  and  the  highen;  note  in  the  fcale  for 

the: 


Chap.  3-    AND    PRACTICE    OF    MUSIC.  211 

the  violin,  a  particular  from  whence  it  is  to  be  inferred  that  the  prac- 
tice of  {Lifting  the  hand  was  unknown  to  him. 

In  the  year  1622  Zacconi  published  a  fecond  part  of  his  Prattica 
Mufica,  which  Morley  never  faw,  for  he  died  in  1604.  The  author 
at  this  time  was  mufician  to  Charles  archduke  of  Auftria,  and  alfo  to 
William  duke  of  Bavaria,  his  former  patron.  In  this  work  he  treats 
of  the  elements  of  mufic,  and  the  principles  of  compofition. 

Speaking  of  the  invention  of  the  fyllables  by  Guido  Aretinus,  he 
fays  that  fome  of  his  time  had  objeaed  that  it  was  imperfedt,  inaf- 
much  as  it  gave  no  fyllabk  to  the  lafl:  note  of  the  feptenary,  ind 
thereby  incumbered  the  fyftem  with  what  are  called  the  mutations. 
And  he  mentions  a  muflcian,  Don  Anfelmo  Fiammengo,  who  had  for- 
merly been  in  the  fervice  of  the  duke  of  Bavaria,  and,  as  Orlando  de 
Laflb  once  told  the  author,  made  ufe  of  the  fyllable  ho  in  fucceflion 
after  that  of  LA  for  the  purpofe  of  getting  rid  of  the  mutations  *. 

Zacconi  mentions  alfo  another  mufician,  Don  Adriano  Baucheri, 
of  Bologna,  who  for  b  fa  made  ufe  of  the  fyllable  ba,  and  for  b  mi 
the  fyllable  Bi,  a  diftindion,  that,  as  above  is  related,  has  been  adopt- 
ed by  the  Spaniards. 

The  rules  for  the  compofition  of  counterpoint,  of  fugue,  and  canon, 
in  all  their  various  forms  laid  down  by  Zacconi,  are  drawn  from  the 
writings  of  Zarlino,  Artufi,  and  other  the  mofl  celebrated  Italian  writers. 
In  the  courfe  of  the  work  he  takes  occafion  to  mention  a  converfation 

*  This  objeaion  lias  often  been  made  to  Guido's  invention  :  Ericius  Puteanus  added  as  a 
feventh,  the  fyllable  bt.  Kepler  fpeaks  of  a  certain  German  who  articulated  the  feptenary  by 
fcven  fyllables,  but  reprehends  him  for  it  in  terms  that  ferve  at  leaft  to  fliew  that  the  method 
ef  folmifation  by  the  hexachords  is  to  be  preferred  to  that  of  the  tetrachords,  which  prevailed 
fome  years  in  this  country,  and  was  praftifed  by  Dr.  Wallis.  The  paflage  from  Kepler  is  to 
tTiis  effeft  :  '  But  as  there  are  three  places  of  the  femitone  in  the  tctrachord,  therefore  that 

*  thefe  fyllables  might  not  be  too  general,  but  rather  that  the  femitone  might  always  be  de- 
■«  noted  by  mi,  fa,  or  f  a  Mi,  there  was  a  neceffity  for  the  addition  of  two  other  fyllables, 

*  that  in  thefe  ut,  re,  mi,  fa,  the  femitone  might  be  in  the  highell  place,  but  that  in  thefe 

<  RE,  MI,  FA,  SOL,  the  femitonc  might  be  in  the  middle  place  ;  and,  lafily,  tliat  in  thefe, 

*  MI,  FA,   SOL,  LA,  the  femitone  might  be  in  the  loweit  place  ;  and  this  is  a  realon  why 

*  the  inventors  of  thefcale  made  ufe  of  fix  fyllables  and  not  eight ;  therefore  let  the  Gcr- 
»  man  fee  what  advantage  he  has  gained  by  the  increaf<;,  when  he  made  ufe  of  feven,  in- 

<  ftead  of  fix  fyllables,  bo,  ce,  di,  ga,  lo,  ma,  ni  ;  for  if  he  thought  K  was  neceflaiy 

*  to  make  ufe  of  as  many  notes  fave  one,  as  there  are  chords  in  an  oaave,    in  order  to 

<  reprefcnt  the  identity  of  the  odave  by  the  firft  fyllable  bo,  I  pray  you  what  ddicrency 
'  was  there  in  the  letters  a,  b,  c,  d,  e,  f,  g,  which  were  long  before  made  ufe  of  for  that 
-•  purpofe?'    Joann.  Keplerus  Harm.  Mundi,  Jib.  HI.  cap.  x.  t-        u         i,    r 

Notwithftanding  this  argument  of  Kepler,  it  is  well  known  that  the  French  to  the  hx 
fyllables  of  Gxiido  add  a  feventh,  namely,  si,  of  the  introduaion  whereof  by  Le  Maire  a» 
account  is  given  in  vol,  1,  pag.  435. 

E  e  2  o« 


212  HISTORY    OF    THE    SCIENCE     Book  Ff . 

on  mufic  held  In  the  prefenceof  Zarlino  in  the  year  1584,  in  which  a 
charader  was  given  of  the  feveral  muficians  of  that  and  the  preceding^ 
age,  and  the  rcfpedive  attributes  of  each  pointed  out  and  alTented  to 
by  the  perfons  then  prefent.  To  Coftanzo  Porta  was  afcribed  great 
art,  and  a  regular  contexture  in  his  compofitions;  to  AlelTandro  Strig- 
gio  a  vague  but  artificial  modulation ;  and  to  MefTer  Adriano,  by  whom  it 
is  fuppofcd  was  meant  Adrian  Willaert,  great  art,  with  a  judicious  dif- 
pofition  of  parts  :  Morales  he  fays  was  allowed  to  have  art,  counter- 
point, and  good  modulation  ;  Orlando  de  LafTo,  modulation,  art,  and. 
good  invention  ;  and  Paleftrina,  every  excellence  neceflary  to  form  a: 
great  muficlan. 

In  the  thirty-fecond  chapter  of  the  fecond  book  he  takes  occalion 
to  obferve  on  the  impiety  of  introducing  madrigals  and  fecular  fongs 
among  the  divine  offices,  the  (inging  whereof  is  prohibited  by  the: 
church  as  a  mortal  lin  j  from  hence  he  takes  occalion  to  applaud  Pa- 
leftrlna  for  his  condud:  in  this  refped,  who  he  fays  enriched  the- 
church  with  his  own  fweet  compofitions,  in  a  ftyle  fuited  to  pub- 
lic worfhip,  calculated  to  promote  the  honour  of  God,  and  to  ex- 
cite devotion  in  the  minds  of  the  auditors. 

Carlo  Gesualdo,  prince  of  Venofa,  flourKhed  about  the  latter 
end  of  the  fixteenth  century.  Venofa  was  the  Venuiium  of  the 
Romans,  and  is  now  a  principality  of  the  kingdom  of  Naples,  fitu- 
ate  in  that  part  of  it  called  the  Bafilicate ;  it  is  famous  for  being  the 
place  where  Horace  was  born  j  and  little  lefs  fo  in  the  judgment  of 
muficians  on  account  of  the  perfon  now  about  to  be  fpoken  of.  He 
was,  as  Sciplone  Cerreto  relates,  the  nephew  of  Cardinal  Alfonfo 
Gefualdo,  archbifhop  of  Naples,  and  received  his  inflrudions  in 
mufic  from  Pomponio  Nenna,  a  celebrated  compofer  of  madrigals. 
Blancanus,  in  his  Chronologia  Mathematlcorum,  fpeaks  thus  of  him: 

*  The  moft  noble  Carolus  Gefualdus,  prince  of  Venufium,  was  the 
«  prince  of  muficians  of  our  age  ;  for  he  having  recalled  the  RythmL 

*  into   mufic,   introduced    fuch    a    flyle    of   modulation,   that  other 

*  muficians    yielded    the  preference    to  him  j   and    all    fingers    and 

*  players  on  Hringed  inftruments,  laying  afide   that  of  otliers,  every 

*  where  eagerly  embraced  his  mufic'  Merfennus,  Kircher,  Doni, 
Berardi,  and  indeed  the  writers  in  all  countries,  give  him  the  cha- 
ra>fter  of  the  moft  learned,  ingenious,  and  artificial  compofer  of  ma- 
drigals, for  it  was  that  fpecies  of  mufic  alone  which  he  fludied,  that: 

ever 


Ch^p.  p     AND    PRACTICE    OF    MUSIC.  213 

ever  appeared  in  the  world.  Blancanus  alfo  relates  that  he  died  in 
the  year  1614. 

Aleflandro  TafTonl,  who  celebrates  him  in  the  highefl:  terms  o£ 
coipmendation,  adds  to  his  charader  this  remarkable  particular,  viz. 
that  he  imitated  and  improved  that  melancholy  and  plaintive  kind 
of  air  which  didinguifhes  the  Scots  melodies,  and  which  was  invented 
about  the  year  1420,  by  James  the  Firft,  king"  of  Scotland,  and  to 
this  he  afcribes  thefweetnefs  of  his  admirable  compofitions*. 

There  arc  extant  no  fewer  than  fix  books  of  madrigals  for 
five,  fix,  and  more  voices,  of  this  excellent  authorj  the  firfi:  five 
were  publifhed  in  parts  in  1585  by  Simone  Molinaro,  a  mufi- 
cian,  and  chapel-mafier  of  Genoa.  The  fame  perfon  in  the  year  1 6 1 3 
publiflied  them,  together  with  a  fixth  book  in  fcore,  with  this  title, 
*■  Partitura  delli  fei  libri  de'  madrigali  a  cinque  voci,  deirillufirilTimo& 
*'  excelientifi^.  Prencipe  di  Venofa  D.  Carlo  Gefualdo.     Fatica  di  Si- 

*  mone  Molinaro,  Maeflro  di  Capella  nel  Duomo  di  Genoua.    In  Ge- 

*  noua,  apprefi^D  Giufeppe  Pavoni.'     Folio. 

It.is  very  probable  that  tbelafl:  of  thefe  publications  was  made  under 
the  direction  of  the  author  himfelfj^and  that'it  was  intended  for*  the  ufe 
of  ftudents;  the  madrigals  contained  in  it  are  upwards  of  one  hundred 
in  number:  the  fixth  book  was  again  pubjidied  in  parts  at  Venice  in 
1616.  In  a  MS.  in  the  mufic-fchool  ofOxford  mention  is  made  of 
tVLO  other  colledions  of  madrigals  of  the  prince  of  Venofa,  as  namely,, 
one  by  Scipio  Stella  in  1603,  and  another  by  Hedor  Gefualdo  in 
1604  J  but  that  by  Molinaro  above-mentioned,  as  it  is  in  fcore, 
feems  to  be  the  mod  valuable  colledion  of  his  works  extant,  and 
probably  may  include  the  whole  of  his  compofitions. 

Doni  fpeaking  of  the  fourth  madrigal  in   the  fixth  book,  *  Rcfta 

*  di  darma  noia,'callsit  *  quell' artificiofifiimoMadrigali  del  principe-f-i* 
and  indeed  it  well  deferves  that  epithet;  for  being  calculated  to  exprefs^ 
forrqw,  it  abounds  with  chromatic,  and  even  enarmonic  intervals,  in- 
deed not  eafy  to  fing,  but  admirably  adapted  to  the  fentiments. 

Kirchcr,  in  the  Mufurgia,  tome  I.  pag.  599,  mentions  the  fol- 
lowing madrigal,  being  the  fiifl  of  the  firil  book  of  Molinaro's  edir 
tion,  as  a  fine  example  of  the  amorous  ftyle. 

•  De' Penfieri  dlverft  di  AlefTandroTafibnl,  libro  X.  cap.  xxiii. 

f  Gio.  Batt.  Doni,  nelle  fue  Compendio  del  Trattato  de'  Generic  de'  Modi  dcll^jt 
Mufica,    In  Koma,  1635,  quarto,  pag,  i6. 


214  HISTORY   OF    THE    SCIENCE      Book  IL 


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HISTORY    OF    THE    SCIENCE      BookJL 


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Chap^j.     AND    PRACTICE    OF    MUSIC, 


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xn 


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i::iiap.4.    AND    PRACTICE.  OF    MUSIC.  221 

And  page  601  of  the  fame  tome  of  the  Mufurgla  be  recommends 
the  nineteenth  madrigal  of  the  third  book,  *  DolcifTimo  folpiri,'  as  an 
example  of  forrow.  ^ 

Again,  the  fame  author,  page  6d8  of  the  fame  tome  of  the  Mufur- 
gia,  recommends  the  twenty-fecond  madrigal  of  the  fixth  book,  *  Gia 

*  pianfi  nel  dolore,*  as  an  example  of  joy  and  exultation. 

The  diftinguifhing  excellencies  of  the  compofitions  of  this  admir- 
able author  are,  fine  contrivance,  original  harmony,  and  the  fweet- 
•eft  modulation  conceivable ;  and  thefe  he  poflefTed  in  fo  eminent  si 
degree,  tha-t  one  of  the  fined  muficians  that  thefe  later  times  have 
known,  Mr.  Geminiani,  has  been  often  heard  to  declare  that  he  laid 
the  foundation  of  his  iludies  in  the  works  of  the  Prencipe  di  Venofa, 

CHAP.  IV. 

THE  prince  of  Venofa  is  not  the  only  perfon  of  rank  who  has  dlf- 
tinguifhed  himfelf  by  his  fkill  in  muiic.  Kircher  mentions  an 
earl  of  Somerfet  as  the  inventor  of  a  certain  kin^i  of  Chelys  or  viol  of 
eight  chords,  which  contained  all  the  fecrets  of  mufic  in  an  eminent 
degree,  and  raviflied  every  hearer  with  admiration.  Mufurg.  torn.  I* 
^ag.  486  *.  And  Walther  fay5  of  Maurice,  landgrave  of  HefTe  Caflel, 
that  he  was  an  excellent  compofer  of  mufic.  Peacham  fpeaks  to  the 
-fame  purpofe,  and  gives  the  following  account  of  him. 

*  Weknowofnocarl  of  Somerfet  to  whom  the  inventionof  any  fuch  mufical  inftrument 
may  beafcribed.  Edward  Somerfet  marquis  of  Worcefler,  the  friend  and  favourite  of  king 
"Charles  I.  was  remarkable  for  his  inventive  faculty,  which  he  endeavoured  to  manifeft  in  a 
little  book  entitled  '  A  century  of  the  names  and  fcantlings  of  fuch  inventions  as  at  prefent 
■*  I  can  call  to  mind  to  have  tried  and  perfefted  [my  former  notes  being  loft]  ;'  firfl:  printed 
4n  1663,  and  fince  among  the  Harleian  tra£ls-  Mr.  Walpole  has  given  ian  account  of  the 
contents  of  this  book,  not  more  humorous  than  juft,  in  the  following  words  :  *  It  is  a 

*  very  fmnll  piece,  conttiining  a  dedication  to  Charles  the  Second,  another  to  both  houfcs  cf( 

*  parliament,  in  which  he  affirms  having,  in  the  prefence  of  Charles  the  Pirft,  performed 

*  many  of  the  feats  mentioned  in  his  book  ;  a  table  of  contents,  and  the  work  itfelf,  which 
"*  is  but  a  table  of  contents  neither,  being  a  lift  of  an  hundred  projciSts,  moft  of  them  im- 

*  poflibilities,  but  all  of  which  he  affirms  having  difcovered  the  art  of  performing  :  feme 

*  of  the  eafieft  feem  to  be,  how  to  write  with  a  fingle  line ;  with  a  point  ;  how  to  ufe  all 
<  the  fenfes  indifferently  for  each  other,  as,  to  talk  by  colours,  and  to  read  by  the  tafte  ;  to 
"'  make  an  unfinkable  fhip ;  how  to  do  and  to  prevent  the  fame  thing  ;  how  to  fail  agaiwft 

*  wind  and  tide  ;  how  to  form  an  uni\'erfal  chaTa£lcr  ;  how  to  comerfe  by  jangling  bells 

*  out  of  tune  ;  how  to  take  towns  or  prevent  thcirbeing  taken  ;  how  to  write  in  the  dark  ; 
•^  how  to  cheat  with  dice;  and,  in  fliort,  how  to  fly.     Of  all  thefe  wonderful  inventioiis 

*  the  laft  but  one  feems  the  only  one  of  which  his  lofdihip  has  left -the  fccret.'  Catalogice 
of  Royal  and' Noble  Authors,  vol.  I."'|>ag.  24a. 

-*  Abov« 


222  HISTORY    OF    THE    SCIENCE      BookIL 

*  Above  others  who  carryeth  away  the  palme  for  excellency,  not: 

*  onely  in  muficke,  but  in  whatfoever  is  to  be  wifhed  in    a  brave 

*  prince,  is  the  yet  living  Maurice,  Landgrave  of  Hessen,  of 

*  whofe  owne  compofition  I  have  feene  eight  or  ten   feverall  fetts  of 

*  motets  and  folemne  muficke,  fet  purpofely  for  his  owne  chappell  *,. 
«  where,  for  the  great  honour  of  fome  feftivall,  and  many  times  for 
'  his  recreation  onely,  he  is  his  owne  organift.     Befides  he  readily 

*  fpeaketh  ten  or  twelve  feverall  languages ;  he  is  fo  univerfall  a  fchol- 

*  ler,  that  comming,  as  he  doth  often,  to  his  univerfity  of  Mar- 

*  purge,  what  queflions  foever  he  meeteth  with  fet  up,  as  the  man- 

*  ner  is  in  the  Germane  and  our  univerfities,.  hee   will   ex  tempore 

*  difpute  an  houre  or  two   (even  in    bootes  and  fpurres)  upon  them 

*  with  their  beft  profefTors.     I  pafle  over  his  rare  fkill  in  chirurgery,, 

*  he  being  generally  accounted  the  beft  bone-fetter  in  the  country^ 

*  Who  have  feene  his  eftate,  his  hofpitality,  his  rich  furnifhed  armory,, 

*  his  brave  ftable  of  great  horfes,  his  curtefie  to  all  ftrangers,  being, 

*  men  of  quality  and  good  parts,  let  them  fpeake  the  reft  -f.'  But  to-. 
be  more  particular  as  to  his  fkill  in  mufic.  Valentine  Guckius  began 
a  work  intitled  '  Opera  metrici  facri  fandlorum,   Dominicalium  et 

*  feriarum,'  but  never  finiflied  it  ;  this  work  was  completed,  and; 
publifhed  by  Maurice,  landgrave  cf  Hefte,  above-mentioned. 

Giovanni  Crock,  of  Venice,  flouriftied  at  this  time.  He  was 
chapel-mafter  of  St.  Mark's,  and  very  probably  the  immediate  fuc- 
celfor  of  Zarlino.  Zacconi,  in  his  '  Prattica  di  mufica,'  publiflied  in-; 
1596,  ftyles  him  vice-mafter  of  the  chapel  of  St.  Mark;  from  whence, 
it  is  pretty  certain  that  he  muft  at  firft  have  been  the  fubftitute  of  Zar- 
lino in  that  oftice.  Morley  commends  him  highly  y  and  Peacham  fays, 

*  Thefe  had  been  procured  by  Douland  when  he  was  abroad,  and  were  fhewn  by  hiin» 
to  Peacham  at  fundry  times.     Peacham's  Emblems,  pag.  loi,  in  not. 

f  Compl.  Gent.  edit.  1634,  pag.  99.  It  feems  that  formerly  the  chara£ler  of  this  prince 
was  well  known,  and  his  reputation  very  high  ia  England,  for  till  within  thefe  few  years  his- 
head  was  the  fign  of  a  reputable  public-houfe  on  the  north  fide  of  the  high  eaitern  load  lead- 
ing to  Mile-end  from  London;  it  reprefcntecl  a  general  in  armour,  and  was  underwrote- 
Grave,  i.  e.  Landgrave,  Maurice  ;  and  upon  repainting  the  fign,  by  corruption,  I^Iorris.. 

From  this  circumftance  it  fhould  fecm  that  he  was  a  favourite  with  the  Kngiilli,  who, 
though  they  might  be  ftrangers  to  his  endowments,  might  efteem  him  for  his  firm  attach- 
ment to  the  proteftant  religion,  for  the  prefervation  whereof  he  formed  a  league  in  1603,- 
which  produced  a  union  of  the  proteilapt  powers  ;  but  being  over-powered  by  count  Tiily- 
in  1626,  he  was  compelled  to  furrender  his  eftates  to  his  fon  William,  and  fpend  his  days 
in  retirement.  He  died  in  1632,  and  is  not  lefs  celebxated  for  his  learning  ^nd  piety,, 
than  foj  his  many  and  various  accorapiidimcnts.     Heyl.  Cofm.  419. 

that 


Chap.4.     AND    PRACTICE    OF    MUSIC.  223 

that  for  a  full,  lofty,  and  fprightly  vein,  he  was  fecond  to  none ;  he 
adds,  that  while  he  lived  he  was  one  of  the  moft  free  and  brave  com- 
panions in  the  world.  Ncverthelefs  his  compofitions  are  all  of  a  de- 
vout and  ferious  kind,  and  of  thefe  his  Penitential  Pfalms,  which 
have  been  printed  with  Englifh  words,  are  the  beft. 

Sethus  Calvisius,  the  fon  of  a  poor  peafant  named  Jacob  Kal- 
witz,  of  Gorfchleb  near  Sachfenburg  in  Thuringia,  was  born  on  the 
twenty-firft  day  of  February,  in  the  year  1556.  He  received  the  ru- 
diments of  learning  in  the  public  fchool  of  Franckenhaufen,  but,  after 
three  years  ftay,  was  removed  to  Magdeburg,  from  whence  he  was  fcnt 
to  the  univerfity  of  Leipfic,  having  no  other  means  of  fupport  there 
than  the  contributions  of  fome  perfons  whom  he  had  made  his  friends. 
His  purfuits  in  learning  were  various,  for  he  is  rot  more  celebrated 
as  a  mufician  than  a  chronologer ;  but  it  is  in  the  firft  capacity  that 
he  is  here  fpoken  of;  and  indeed  he  was  deemed  fo  able  a  proficient 
in  mufic,  that  very  early  in  his  life  he  had  the  diredion  of  the  choir 
in  the  univerfity  church,  and  foon  after  became  preceptor  in  mufic  in 
the  Schul-Pforte,  or  principal  fchool  in  Upper  Saxony  ;  ten  years  after 
which  he  became  chanter  in  the  church  of  St.  Thomas  in  the  city  of 
Leipfic,  and  fellow  of  the  college  there,  in  which  ftations  he  died 
on  the  twenty-third  day  of  November,  in  the  year  1617,  or,  as  fome 
write,  1 61 5.  The  greatnefs  of  his  reputation  procured  him  many 
invitations  to  fettle  in  foreign  univerfities,  but  he  declined  them  all. 
His  mufical  writings  are,  *  Melopeiam,  feu  melodia3  condendse  ratib- 
«  nem,  quam  vulgo  muficam  poeticam  vocant,'  printed  at  Erfurth  in 
1595,  as  Lipenius  places  it,  or,  according  to  others,  in  1602.  In  161 1 
he  publifhed  his  Opufcula  Mufica,  and  in  the  year  after,  his  Compen- 
dium Muficum,  a  book  for  the  inftrudion  of  beginners  ;  but  a  me- 
thod of  folmifation  by  the  feven  fyllables  bo,  ce,  di,  ga,  lo,  ma,  ni, 
having  then  lately  been  introduced,  which  he  feemed  greatly  to  ap- 
prove, he  republifhed  it  in  the  fame  year,  with  the    title  of  *  Mu- 

*  ficaf-  artis   praecepta  nova  &   facillima,   &c.'      He  alfo    publifhed 

*  Exercitationes  muficas,'  in  number  three.  In  16 15  he  compofed 
the  hundred  and  fiftieth  Pfalm  in  twelve  parts,  for  three  choirs,  on 
the  nuptials  of  Cafpar  Anckelman,  a  merchant  of  Hamburg,  and 
caufcd  it  to  be  printed  in  folio  at  Leipfic. 

Of  the  Exercitationes,  the  firft  is  on  the  modes  of  the  ancients, 
and  contains  a  catalogue  of  compofitions  by  the  old  German,  Flemidi, 
and  Italian  mailers  in  thofe  feveral  modes. 

The 


224  HISTORY    OF    THE    SCIENCE      Book  H. 

The  fecond  of  the  Exercitationes  Is  intltled  *  De  Initio  et  ProgrcfTi* 
•  mufices,  et  alils  quibufdam  ad  earn  rem  fpedlantibus.'  This  appears 
to  be  the  fubftance  of  ledlures  red  by  the  author  in  the  public  fchool 
at  Leipfic,  and  is  a  very  learned,  ingenious,  and  entertaining  com- 
pofition.  In  it  he  takes  notice  of  that  invention  of  an  anonymous 
Dutch  mufician  for  avoiding  the  mutations,  by  giving  to  the  feptenary. 
the  fyllables  bo,  ce,  di,  ga,  lo,  ma,  ni,  w^hich,  as  has  been  men- 
tioned in  a  preceding  note,  Kepler  has  taken  notice  of  and  reprehended.. 
The  two  firft  parts  of  the  Exercitationes  were  printed  at  Leipfic  in  1 600* 

Calvifius  in  this  difcourfe  inclines  to  the  opinion  that  polyphonous 
mufic  was  unknown  to  the  ancient  Greeks ;  and  for  fixing  the  era  of 
its  invention,  obferves  that  Bede  makes  ufe  of  the  terms  Concentu8l^. 
Difcantus,  Organis,  from  which  it  is  to  be  inferred  that  he  was  not. 
able  to  carry  it  higher  than  the  beginning  of  the  eighth  century,, 
about  which  time  Bede  wrote. 

The  laft  of  the  Exercitationes,  printed  at  Leipfic  In  161 1,  con- 
tains a  refutation  of  certain  opinions  of  Hippolytus  Hubmeier,  poet- 
\aureat  to  the  emperor,  and  a  public  teacher  at  Gottingen,  who  it 
leems  had  written  on  mufic. 

Our  countryman  Butler  cites  Calvifius  in  almoft  every  page  of  his 
Principles  of  Mufic  ;  and  in  one  place  in  particular  ufes  thefe  words:- 

*  Sethus  Calvifius,  that  fingular   mufician   to   whom  the  fi:udentsof 

*  this  abftrufe  and  myfierious  faculty  are  more  beholden  than  to   all: 

*  that  have  ever  written  thereon.'  His  chronological  wricings  are 
greatly  efleemed  ;  in  them  he  had  the  good  fortune  to  pleafe  Jofeph; 
Scaliger,  who  has  given  him  great  commendations  :  he  wrote  againfk' 
the  Gregorian  calendar  a  work  Intitled  *  Elenchus  CalendariiGrego- 

*  riani,  ct  duplex  Calendarii  melioris  formula,*  publiihed  at  Frank- 
fort in  16 12,  and  laflly,  Chronologla,  printed  at  the  fame  place  in. 
1629. 

Giovanni  jMaria  Artusi,  an  ecclefiaftic  of  Bologna,  of  whom, 
mention  has  already  been  made  ia  the  courfe  of  this  work,  was  the 
author  of  an  excellent   treatife  intitled  *  L'Arte  del   Contraponto  Ri- 

*  dotta  in  Tavole,' publiiQied  in  15^6,  of  which  an  account  has  here- 
in before  been    given,  and   alfo    of  a   difcourfe   which    he    intitles 

*  L'Artufi,  ouero  delle  Imperfettioni  della  moderna  Mufica,  Ragiona*- 

*  menti  dui,'  printed  at  Venice  in  the  year  1600.. 

The  latter  of  thefe  two  treatifes  is  a  dialogue,  which  the  author 


introduces  with  the  following  relation 


•  Upon 


•,   ♦« 


Chap.4.      AND    PRACTICE    OF    MUSIC.  225 

*  Upon  the  arrival   of  Margaret  queen   of  Auflria  at  Ferrara,  in 

*  1598,  with  a  noble  train,  to  celebrate  a  double  marriage  between 

*  hcrfelf  and  Philip  III.  of  Spain,  and  between   the  archduke  Al- 

*  bert  and  the  infanta  Ifabella  the  king's  fifter;  foon  after  the  nup- 

*  tials  they  vifited  the  monaftery  of  St.  Vito,  where,  for  the  enter- 

*  tainment  of  their  royal   guefts,  the  nuns  performed   a  concert,  in 

*  which  were  heard  cornets,  trumpets,  violins,  baftard  viols,  double 

*  harps,  lutes,  flutes,  harpfichords,  and  voices  at  the  fame  time,  with 

*  fuch  fweetnefs  of  harmony,  that  the  place  feemed  to  be  the  mount 

*  of  ParnaiTus,  or  Paradife  itfelf.' 

On  this  occafion  two  of  the  auditors,  wha  happened  to  meet  there, 
and  weregreatly  pleafed  with  the  performance, enter  into  a  converfation 
on  the  fubjed  of  mufic  in  general.  It  is  needlefs  to  follow  the  inter- 
locutors through  the  whole  of  the  dialogue,  but  it  may  be  taken  for 
granted  that,  notwithftanding  the  form  it  bears,  it  contains  the  fen- 
timents  of  Artufi  himfelf>  who,  after  delivering  fome  very  obvious 
rules  for  the  ordering  of  a  muiical  performance,  whether  vocal  or  in- 
flrumental,  fuch  as  the  choice  of  place,  of  inflruments,  of  voices, 
and,  laftly,  of  the  compofitions  themfelves,  declares  himfelf  to  the 
following  purpofe  :  and  fpeaking  firfl  of  the  Cornet,  he  fays  that  the 
tone  of  that  inftrument  depends  greatly  upon  the  manner  of  tonguing 
it,  concerning  which  practice  he  delivers  many  precepts  which  at^ 
this  time  it  would  be  of  very  little  ufe  to  enumerate. 

The  cornet  is  an  inftrument  now  but  little  known,  it  having  above 
a  century  ago  given  place  to  the  hautboy;  Artufi  fcems  to  have  held 
it  in  high  eftimation  ;  his  fentiments  of  it  will  be  beft  delivered  in  his 
own  words,  which  are  thefe  : 

*  To  give  the  beft  tone,  the  performer  on  the  cornet  ftiould  endea- 

*  vour  to  imitate  the  human  voice  j  for  no  other  inftrument  is  fo  diffi- 

*  cult  to  attain  to  excellence  on  as  this :  the  trumpet  is  founded  by 

*  the  breath  alone;  the  lute  by  the  motion  of  the  hands  ;  the  harp- 

*  fichord  and  the  harp  may  be  attained  by  long  pradice  ;  but  the  cor- 

*  net  requires  the  knowledge  of  the  different  methods  of  tonguing, 

*  and  the  changes  to  be  made  therein  according  to  the  quality  of  the 

*  f<3veral  notes ;  a  proper  opening  of  the  lips,  joined  to  a  ready  fin- 

*  ger  attained  by  Jong  habit ;  all  thefe  excellencies  were  polfcftcd  by 

*  Girolamo  da  Udine  of  Venice,  and   other  eminent   performers  on 

*  that  inftrument  who  flouriftied  formerly  in  Italy.' 

Vol.  IlL  G  g  ^  In 


226  HISTORY  OF  THE   SCIENCE      Book  11. 

In  his  obfervatlons  on  other  inflruments  he  fpeaks  to  this  purpofe: 
the  different  conftrudlion  of  inftruments  will  occafion  a  diverfity  in 
their  founds ;  firft,  in  refpetft  of  the  matter  of  which  they  are  form- 
ed ;  fecondly,  of  the  chords  of  fome,  and  the  pipes  of  others  -,  and, 
thirdly,  to  (peak  of  flringcd  inflruments  only,  by  reafon  of  the  man- 
ner in  which  the  chords  are  ftruck.  Under  thefe  feveral  heads  he 
makes  the  following  remarks,  viz.  that  the  lute  being  a  larger  inftru- 
ment  than  the  guittar,  the  found  thereof  is  more  diffufed  ;  as  a  proof 
whereof  he  fays,  that  a  firing  of  the  one  being  put  on  the  other,  will 
produce  a  change  of  tone  derived  from  the  effedl  of  the  different  in- 
ftrument;  and  that  for  the  fame  reafon,  a  gut  firing  being  put  upon- 
a  harplichord,  the  found  thereof  is  lofl,  or  fcarce  heard.  Farther,- 
that  a  filver  firing  will  produce  a  found  more  or  lefs  fweet,  accord- 
ing to  the  quality  and  degree  of  the  alloy  with  which  the  metal  is  at- 
tempered ;  and  that  if  a  firing  of  Spanifh  gold,  the  alloy  of  which  is- 
harder  than  that  of  the  Venetian,  be  put  on  a  guittar,  it  v/ill  render  a 
fweet,  but  a  firing  of  pure  gold  or  filver  an  unpleafing  found.  As  to 
pipes,  he  fays  there  can  be  no  doubt  but  that  leaden  ones  have  a 
fweeter  tone  than  thofe  of  tin  or  any  harder  metal.  And  as  to  the 
percuilion  of  chords,  he  fays  that  if  a  chord  of  metal  ox  gut  be  flruck 
with  the  finger,  it  muft  produce  a  fweeter  found  than  if  ftruck  by 
any  thing  elfe.  Thefe  obfervations  demonflrate  the  imperfedlions  of 
inflruments,  though  in  general  they  are  but  little  attended  to. 

Farther,  the  different  tuning  or  temperature  of  inflruments  is  fuch^ 
that  oftentimes  one  interval  is  founded  for  another  j  and  frequently 
in  the  diatonic  genus  one  performer  will  obferve  the  fyntorrous  divi- 
lion  of  Ptolemy,  another  that  of  Arifloxenus :  and  this  alfo,  fays  this 
author,  is  an  evidence  of  the  imperfedlion  infifted  on. 

lie  cites  from  Ptolemy  a  pafTage,  wherein  it  is  afferted  that  in  wind- 
infliuments  no  certainty  of  found  can  be  depended  on  ;  and  another 
from  Arifloxenus  to  the  lame  purpofe,  but  more  general,  as  applying 
to  all  Inflruments  whatfoever. 

From  hence  he  takes  occafion  to  confider  the  inflruments  of  the 
moderns,  and  the  temperaments  of  each  fpecies  or  clafs  ;  the  firfl  he 
makes  to  confifl  of  fuch  as  are  tempered  with  the  tones  equal  and  the 
femitones  unequal,  as  the  organ,  harplichord,  fpinnet,  monochord, 
and  double  harp.  The  inflruments  of  the  fecond  clafs,  under  which 
he   ranks   fuch  as  are  altered   or   attempered  occafionally,  are  the 

human 


Chap.  4.       AND    PRACTICE    OF    MUSIC.  227 

human  voice,  trombone,  trumpet,  rebec,  cornet,  flute,  and  dul- 
zain  *.  In  the  third  clafs,  confiding  of  inflruments  in  which  both  the 
tones  and  femitones  are  equally  divided,  are  placed  the  lute,  viol, 
baftard  viol,  guittar,  and  lyre. 

From  this  arrangement  of  inflruments,  and  a  comparative  view 
of  the  temperaments  proper  to  each,  Artufi  draws  a  conclufion, 
which,  if  not  too  refined,  appears  to  be  very  judicious,  namsly,  that 
in  mufic  in  confonance  the  inftruments  of  the  firft  and  third  ciafs 
ought  never  to  be  conjoined. 

In  the  courfe  of  the  dialogue  Artufi  puts  into  the  mouth  of  one  of 
the  interlocutors  this  queflion,  *  Had  the  ancients  mufic  in  confo- 
«  nance,  or  not  ?     To  this  the  anfwer  is,  «  I  deny  that  the   ancients 

*  had  the  knowledge  of  all  thofe  confonances  that  we  make  ufe  of,  as 
«  clearly  may  be  red  in  Ariiloxenus,  lib.  I.  in  Ptolemy,  lib.  I.  cap.  x. 
«  and  in  Euclid,  who  fays,  *'  Sunt  confone  diateflaron,  diapente,  dia- 
«*■  pafon  et  fimilia;  dilfonaautem  funteaque  minora,  quam  diateiraron, 
<*  ut  dicfis.    Semitonium,  tonus,  fefquitonus,  et  ditonus."    From  thefc 

*  authorities  it  muft  be  believed  that  the  ancients  had  not  the  imperfect 

*  confonances,  the  thirds,  and  fixths  -,  or  if  they  had  any  knowledge 
«  of  them,  they  never  ufed  them,  but  reputed  them  difcords. 

And  touching  the  comparative  excellence  of  the  ancient  and  mo- 
dern mufic,  Artufi  delivers  his  fentiments  to  this  purpofe. 

'  The  mufic  of  the  ancients  being  more  fimple,  caufed  a  greater 
«  imprefTion  on  the  mind  than  can  be  effeded  by  that  of  the  moderns; 
'  which  confifting  in  a  variety  of  parts,  whereof  fome  are  grave 
«  and  others  acute  -,  fome  proceeding  by  a  flow,  others  by  a  quick 
«  motion,    divides  the  attention,  and  keeps  the   mind   in  fufpcnce  : 

•  The  Dulzain,  otherwife  called  the  Dulcino,  is  a  wind-inftrument,  ufed  as  a  tenor  to 
the  hautboy.  Broflard  calls  it  the  Quart  Fagotto ;  and  adds,  that  it  is  a  fmall  baffoon.  That 
it  is  a  kind  of  hautboy  appears  from  a  paflage  in  Don  Qiiixote.  In  the  adventure  of  the 
puppet-lhcw,  the  boy  who  is  the  interpreter,  defires  the  fpedators  to  attend  to  the  found 
of  the  bells  which  rang  in  the  (leeples  in  the  rwofques  of  Sanfuenna  to  fpread  the  alarm  of 
Melifendra's  flight.  Peter,  the  maftcr  of  the  fliew,  is  all  the  while  behind  ringing  the 
bells,  upon  which  Don  Quixote  calls  out,  *  Mafter  Peter  you  are  very  much  miftakcn  in 

*  this  bufinefs  of  the  bells;  for  you  are  to  know  that  among  the  Moors  there  are  no  bells, 

*  and  that  inftead  of  them  they  make  ufe  of  kettle-drums,  and  a  kind  of  Dulzayns,  like 

*  our  Chirimias  '  Chirimia  in  the  Spanifh  didionaries  is  interpreted  by  the  Latin  Ti- 
bicen,  inis  ;  and  Chirimias  is  by  Jarvis  properly  enough  tranilated  Waits,  that  is  fliy  haut- 
boys; though,  by  a  miftake  arifing  from  his  want  of  Ikill  in  mufic,  he  has  rendered  the  word 
Dulzaynas,  Dulcimers. 

G  g  2  *  fo 


228  HISTORY    OF    THE    SCIENCE    BooklL 

*  fo  that  although  it  may  be  faid  that  the  mufic  of  the  moderns  con- 

*  lifts  in  a  richer  and  fuller  harmony  than  that  of  the  ancients,   it  is 
«  inferior  to  it  in  refpedt  of  the  melody,  and  its  power  over  the  human^ 

*  mind.' 

In  the  courfe  of  his  dialogue  Artud  takes  occafion  to  celebrate  Cy- 
priano  DeRore,  whom  he  ftyles  a  fkilful  compofer,  and  the  firft  thai 
accommodated  judicioufly  words  to  mufic,  a  pradice  which  before 
his  time  was  but  very  little  undcrftood  by  muficians. 

Towards  the  end  of  the  firft  of  the  Ragionamenti  is  a  madrigal  for 
two  voices  of  Adrrano  Willaert,  copied,  as  Artufi  tcftifies,  from  the 
writing  of  the  author  himfelf,  and  clofing  with  the  interval  of  a  fe*- 
venth,  though  to  appearance  the  cadence  is  in  the  diapafon. 

To  this  madrigal  is  fubjoined  a  letter  printed  from  the  original'ma-- 
nufcript  of  Giovanni  Spataro  of  Bologna,  dated  9  September,  1524,. 
purporting  to  be  a  criticifm  on  it,  wherein  the  author,  after  many 
honourable  exprefllons  in  commendation  of  MefTer  Adrian©  and  his^ 
works,  cenfures  him  for  having,  by  an  unwarrantable  kind  of  fophif- 
try,  made  the  madrigal  in  queftion,  by  the  ufe  of  the  flat  fignature,  to- 
appear  different  from  v/hat  it  really  is. 

Spataro's  letter  is  replete  with  muiical  erudition.  Artufi^  fays  that- 
it  came  from  a  good  fchool,  and  that  the  author  was  a  moft  acute 
mufician.  It  is  followed  by  refledlions  of  Artufi  on  what  he  callfe 
Mufica  finta,  in  Latin  Mufica  fid:a,  or  feigned  mufic,  thaf  is  to  fay,- 
that  kind  of  mufic  in  which  a  change  of  the  interval's  is  efFedled  in^ 
various  inftances,  by  the  ufe  or  application  of  the  fl&t  fignature  :  Ar-- 
tufi  feems  to  be  no  friend  to  this  pradice,  and  cenfures  the  multipli- 
cation of  the  tranfpofcd  keys  beyond  certain  limits. 

He  then  proceds  to  relate  the  difpute  between  Nicola  Vicentino 
and  Vincentio  Lufitano  in  1551.  Th-e  latter  maintaining  that  the  then 
modern  fcale  was  purely  diatonic,  and  the  other  afiTerting  that  the  fame 
confifted  of  a  mixture  of  the  chromatic  and  enarmonic  genera  ;  Artuli 
feems  not  to  have  attended  to  the  conceffions  made  by  Vincentio  Lu- 
fitano, which  are  fo  much  the  more  worthy  of  nore,  as  they  were 
made  after  a  determination  in  his  favour,  and  neverthelefs  adopts  his 
firft  opinion,  and  accordingly  approves  of  the  fcntence  againft  Vicen- 
tino by  the  judges  in  the  controverfy,  Bartolomeo  Efgobedo,  and 
Ghifilino  D'Ancherts. 

CHAP. 


Chap.  5-      AND    PRACTICE    OF    MUSIC.  229 

CHAP.  V, 

IN  the  fecond  of  the  Ragionamenti  are  contained  the  cenfures  of  Ar- 
tufi  on  a  madrigal  in  five  parts  by  an  anonymous  author,  which, 
though  it  had  been  much  applauded  by  the  vulgar,  is  by  him  (hewn 
to  be  very  faulty. 

Speaking  of  the  ancient  modes,  and  of  the  defignation  of  each  of 
them  by  Euclid  and  Ptolemy,  he  remarks  that  thefe  two  writers  dif- 
fer in  the  order  of  the  modes,  though  they  agree  both  in  the  num- 
ber and  conftrudion  of  them  ;  for  that  in  thofe  of  Ptolemy  the  tones 
and  femitones  in  the  afcending,  fucceed  in  the  fame  order  as  thofe  of 
Euclid  do  in  the  defcending  feries. 

Notwithftanding  the  feveral  eflays  towards  a  temperature  which 
are  to  be  met  with  in  the  writings  of  Artufi,  it  is  clear  that  he  was 
not  of  the  Ariftoxenean  fedt  of  muficians ;  for  of  Ariftoxenus  himfelf 
he  fays  that  he  is  *  una  difcordante  difcordia,*  and  that  among  his 
followers  there  is  infinite  confufion. 

He  favs  that  all  the  moderns  are  at  variance  with  refped:  to  the 
number,  the  order,  and  fituation  of  the  modes ;  and  that  neither 
Odo,  Guido  Aretinus,  nor  Jacobus  Faber  Stapulenfis,  feem  to  have 
underflood  the  meaning  of  Boetius,  which  he  afcribes  to  the  many 
errors  in  the  manufcript  copies.- 

Artufi  feems  to  agree  with  Glareanus  in  making  the  modes  to  be 
twelve  in  number,  but  he  differs  from  him  in  his  defignation  of  them. 
By  what  artifice  the  modes  are  made  to  exceed  the  fpecies  of  diapafon 
has  already  been  mentioned  ;  and,  as  to  the  difference  between  the 
modes  of  Glareanus  and  Artufi,  the  fubjed:  is  Co  uninterefting,  that 
it  merits  very  little  attention  at  this  day. 

Towards  the  clofe  of  this  treatife  Artufi  obferves  that  every  cantl- 
Tenais  mixed  and  compofed  of  two  modes,  that  is  to  fay,  the  au- 
thentic and  the  plagal  refpedively  in  each  of  the  feveral  fpecies  of  dia- 
pafon J  and  that  a  cantilena,  by  being  made  to  fing  both  backward 
and  forward,  may  confift  of  four  modes;  and  of  this  he  gives 
an  example  in  that  enigmatical  madrigal  compofed  by  Cofianzo 
Porta,  inferted  vol.  II.  book  I.  chap.  vili.  of  this  work,  faying  that 
it  is  a  fine  and  new  invention. 

In  the  year  1603  Artufi  publifiied  a  fecond  part  of  this  work,  the 
occafion  whereof  is  related  in  the  preface,  and   is  as  follows :  *  One 

*  Fran- 


23©  HISTORY  OF   THE   SCIENCE      Bookll. 

*  Francefco  Patricio,  in  the  year  1586,  had  written  a  treatlfe  intitled 
**  Delia  poetica  deca  hiftoriale,  deca  difputata,"  wherein  difcourfing 

*  of  mufic  and  poetry,  he  takes  occadon  to  fpeak  of  the  genera  of  the 

*  ancients,  but  in  a  way  that  in  the  opinion  of  fome  was  liable  to 

*  exception.' 

This  book  was  feverely  cenfured  by  Hercole  Bottrigaro  in  a  dlf- 
courfe  intitled  *  II  Patricio,  overo  de  tetracordi  armonici  di  Ariliofleno, 

*  parere  e  vera  demoftratione  deli'  lUuftre  Signor  Cavaliere  Hercole 

*  Bottrigaro.'  In  Bologna,  1593, in  quarto;  and  Patricio's  book  coming 
alfo  to  the  hands  of  Annibale  Melon!,  a  mufician  of  Bologna*,  he 
too  publKhed  remarks  on  it  intitled  *  II  Defiderlo  di  Alemanno  Be- 

*  nellij'  a  name  formed  by  the  tranfpofition  of  the  letters  of  the  name 
Annibale  MelonI ;  in  it  are  fome  reflections,  rather  on  the  doctrines 
than  the  charad:er  of  Francefco  Patricio,  wherefore  he  being  dead, 
Artufi  undertook  to  vindicate  him  from  the  calumnies  of  the  one  and 
the  infmuatlons  of  the  other  of  thefe  his  adverfaries. 

The  conduct  of  Artufi  in  the  management  of  this  controverfy  Is 
fomewhat  lingular  ;  for  although  the  fecond  part  of  the  treatifc  Deile 
Imperfettioni,  and  more  efpecially  the  Confiderationi  Muficali,  print- 
ed at  the  end  of  it,  are  a  defence  of  Patricio,  and  an  examen  of  Bottri- 
garo's  book,  U  Patricio,  in  which  many  errors  contained  in  are  it  point- 
ed out,  and  moft  flrongly  marked ;  yet  to  this  very  fame  Bottrigaro, 
the  adverfary  of  Patricio,  and  the  aggreffor  in  the  difpute,  does  Ar- 
tufi dedicate  his  book,  and  that  in  terms  fo  equivocal,  that  it  is  not 
eafy  to  difcover  that  he  means  at  once  to  flatter  and  revile  him.  In 
order  to  do  this  ccnfifl:ently,  he  very  artfully  affedts  to  confldcr  Bot- 
trigaro's  book  II  Patricio  as  the  work  of  an  anonymous  writer,  call- 
ing him  *  I'Auttor  del  parere  ;'  and  fticks  not  to  fay  that  in  calum- 
niating Patricio  he  does  but  bark  at  the  moon. 

Artuli's  book,  befides  that  it  is, a  defence  of  Francefco  Patricio, 
contains  alfo  an  enquiry  into  the  principles  of  fome  modern  innovators 
in  mufic  :  of  thefe,  one  named  Ottavio  Ottufl,  conceiving  that  the 
cenfures  of  Artufi  were  meant  to  reach  himfelf,  wrote  a  letter  to  Ar- 
tufi, wherein  he  advances  the  following  abfurd  pofitlons,  viz.  that 
the  difcard  of  the  fcventh  is  fweeter  to  the  ear  than  the  odave  ;  that 

*  Annibale  Melon!  was  a  man  of  confiderable  learning.  Artufi,  in  the  preface  to  his 
fecond  part  of  the  trcatifeDelle  Imperfettioni,  mentions  a  certain  demonftration  of  fome  of 
the  problems  of  Ariftotle,  and  other  works  of  his  v/riting.  For  his  profeffion  we  are  to  feek, 
though  Bottrigaro  ftyies  him  '  Molto  Mag.  M.  Annibale  Melone  Decano  deMuficaordi- 

*  iiarii  Illuftriff,  Signoria  di  Bologna.' 

the 


Chap.  5-       AND    PRACTICE    OF    MUSIC.  231 

the  fevcnth  may  move  up  to  the  o6lave,  and  the  fourth  into  the  fifth; 
the  third  into  the  fourth,  and  the  fifth  into  either  of  the  fixths. 
This  letter  produced  a  controverfy,  which  clearly  appears  to  have 
terminated  in  favour  of  Artufi. 

To  this  fecond  part  of  the  treatife  *  Deile  Imperfettioni  della  mo- 

*  derna  mufica,'  are  added  *  Confiderationi  muficali  j'  thefe  contain 
the  author's  fentiments  of  Patricio  and  his  work,  as  alfo  the  objec- 
tions of  his  opponent.  They  are  delivered  with  a  becoming  zeal  for 
the  honour  of  his  memory,  and  in  terms,  which  though  they  indi- 
cate a  refped  for  the  rank  and  ftation  in  life  of  Signor  Cavaliere  Her- 
cole  Bottrigaro,  fufficiently  (hew  how  far  he  ventured  to  differ  from 
him  in  opinion. 

Nor  did  Artufi  reft  the  difpute  here  :  Annibale  Meloni  it  feems  was 
his  friend  ;  Meloni  had  fhewn  him  his  book  11  Defiderio,  but  Artufi: 
excufed  himfelf  from  pcrufing  it,  as  not  being  willing  to  forward  a 
publication  that  in  the  leaft  refleded  on  the  dodtrines  delivered  by  Pa- 
tricio :  he  neverlhelefs  entertained  a  high  opinion  of  its  author,  as  ap- 
pears by  what  he  fays  of  him  in  the  preface  to  the  fecond  part  of 
his  book  Delle  Imperfettioni,  and  after  its  publication^  in  1594, 
fome  remaining  copies  coming  to  his  hands,  he  republifhed  it  in  1601^ 
with  a  preface,  in  which  he  intimates  an  opinion  then  generally  pre- 
valent that  Bottrigaro  was  the  author  of  the  book  ;  and  upon  this  he 
takes  occafion  to  reproach  him  for  arrogating  to  himfelf  the  merit  of 
fo  excellent  a  work,  and  for  not  openly  and  publicly  difclaiming  all 
pretence  to  the  honour  of  writing  it. 

The  moderation  of  Artufi  in  his  treatment  of  his  adverfary  is  very 
remarkable,  for  he  blames  him  only  for  fuffering  an  opinion  to  pre- 
vail that  he  was  the  author  of  11  Defiderio  j  but  he  might  have  car-  . 
ried  the  charge  againft  him  much  farther;  for  Bottrigaro  having  got- 
ten polTefilon  of  the  manufcript  at  a  time  when  Annibale  Meloni 
confulted  him  about  it,  he  caufed  a  copy  to  be  made  of  it,  and  had 
the  effrontery  to  publifii  it  as  his  own  j  there  is  now  extant  an  im- 
prefiion  of  it  with  this  title  *  11  Defiderio  j  overo  de'  concert!  di  vart 

*  ftromenti  muficali,  dialogo  di  mufica  di  Ercole  Bottrigari.'  In  Bo- 
logna per  il  Bellagamba,  1590,  in  quarto  *. 

In  the  year  1 604  Artufi  publifiied  at  Bologna  a  fmall  tradt  in  quarto, 
intitled  *  Imprefa  del  molto  R.  M.  Giofeffo  Zarlino  da  Chioggia.' 

*  N.  Haym.  Notizia  de*  libri   rari  nejla  lingua  Italiana.      Lond.   1726,    odavo,. 
pag.  269. 

It 


232 


HISTORY    OF    THE    SCIENCE     Book  It. 


It  feems  that  Zarlino,  fomc  time  before  his  dcceafe,  agreeable  to  the 
pra6tice  of  many  learned  men  in  all  faculties,  had  chofen  for  himfelf 
a  device  or  imprefs  adapted  to  his  profeffion,  and  alluding  to  that 
method  of  reafoning  which  he  had  purfued  in  thecourfe  of  his  ftudies 
for  demonftrating  the  harmonical  ratios.  This  imprefs,  which 
probably  he  might  make  the  fubjed  of  an  intaglio,  or  otherwife 
ailume,  was  a  cube,  on  which  were  drawn  a  variety  of  lines  in- 
terfedting  each  other,  and  forming  angles  in  harmonical  ratios, 
with  this  motto  above,  'OYAEN  Xn?tZ  'EMO'T  that  is  to  fay, 
'  Nothing  without  me,'  and  underneath  this,  'AEl'  'O  'ATTO'2  «  Al- 
*  ways  the  fame.* 


=3S2  C^JL-^T^g^^ 


The  diagrams  inlcribcd  on  the  three  apparent  fides  of  the  abo\^e 
figure  are  fuch  as  Zarlino,  in  the  courfc  of  his  writings,  had  invented 
for  the  purpofe  of  demonftrating  the  ratios  of  the  confonances.  Ar- 
tufi's  book  is  a  commentary  on  the  imprefs  at  large,  with  a  formal 
declaration  of  the  dodrines  referred  to  by  it ;  but  from  what  has  been 
faid  of  the  Helicon  of  Ptolemy,  and  the  fubfequent  improvement  of 
it,  mentioned  in  the  account  herein  before  given  of  Zarlino  and  his 
writings,  the  general  import  of  thefe  diagrams  may  be  ealily  perceived. 

The  foregoing  account  of  Bottrigaro  and  Artufi,  and  the  contro- 
verfy  between  them  refpeding  Francefco  Patricio,  renders  it  necef- 
fary  to  fpeak  of  the  treatife  intitled  II  Defiderio. 

As 


Chap.  5.      AND    PRACTICE    OF    MUSIC.  233 

As  to  the  book  intitled  II  Defiderio,  it  is  a  curious  and  entertaining 
dialogue  on  the  concerts  which  at  the  time  of  writing  it  were  the  en- 
tertainment of  perfons  of  the  firft  rank  in  the  principal  cities  of  Italy, 
particularly  Venice  and  Ferrara.  The  interlocutors  in  it  are  Gra- 
tiofo  Defiderio,  who,  although  the  title  of  the  book  is  taken  from 
his  name,  feems  to  be  a  fiditious  perfon,  and  the  author  himfelf 
under  the  name  of  Alemanno  Benelli.  In  the  courfe  of  the  conver- 
fation  the  principles  of  harmony,  as  delivered  by  the  Greek  and  Ita- 
lian writers,  are  invejfl:igated  with  great  learning'  and  ingenuity,  with 
a  view  to  eftabliHi  a  preference  of  the  modern  to  the  ancient  mufic. 
In  fupport  of  his  argument  the  author  recurs  to  that  which  is  often*  ' 
fibly  the  fubjedl  of  his  book,  and  fpeaks  firft  of  the  concerts  at  Venice;, 
next  of  thofe  of  the  Academici  Filarmonici  at  Verona*  j  and,  laftly, 
of  thofe  performed  in  the  ducal  palace  at  Ferrara,  of  which  he  gives 
a  particular  defcription  ;  for  after  taking  notice  of  the  grandeur  and 
elegance  of  the  apartments>  and  particularly  of  that  fplendid  room  in 
which  the  concert  was  accuftomed  to  be  given,  he  relates  that  the 
duke  had  in  his  fervice  a  great  number  of  fingers  with  fine  voices,  and 
excellent  performers  on  various  iriftruments,  as  well  foreigners  as  Ita- 
lians ',  and  that  the  inftruments  made  ufe  of  in  concert  were  the  cor- 
net, trumpet,  dulzain,  flutes  of  various  kinds,  the  viol,  rebec,  lute, 
cittern,  harp,  and  harpfichord,  and  thefe  to  a  confiderable  number. 

After  this  general  account  of  the  inftruments,  the  author  men- 
tions certain  others  which  himfelf  faw  at  the  palace  of  the  duke,  and 
were  there  preferved,  feme  for  their  antiquity,  and  others  in  rcfpedl 
of  the  Angularity  of  their  conftrud:ion  -,  among  thefe  he  takes  notice 

•  The  Accademia  degli  Filarmonici  was  inftituted  firft  at  Vicenza.  The  time  when  can- 
not be  precifely  afcertained  j  but  appears  by  an  inflrument  of  a  public  notary,  yet  extant, 
that  fo  early  as  the  year  1565  the  Accademia  degli  Incatenati  was  incorporated  with  it, - 
after  which  the  members,  upon  their  joint  application  to  themagiftracy  of  V^erona,  obtain- 
ed a  grant  of  a  piece  of  ground,  whereon  a  fumptuous  edifice  was  ere£led ;  to  this  the 
nobility  and  gentry  of  the  city  were  ufed  to  refort  once  a  week,  and  entertain  themfelves 
with  mufic  :  about  the  year  1 732  a  theatre  was  added  to  the  great  hall  for  the  performance  - 
of  operas.     Walth.  Lex.  pag.  4. 

The  academy  above-mentioned  is  fuppofcd  to  be  the  moft  ancient  of  the  kind  of  any  in 
Italy,  but  fincc  the  inflitudon  of  it  others  have  been  eftablifhed,  which,  as  they  will  be 
occafionally  fpoken  of  hereafter,  it  may  not  be  improper  to  give  an  account  of  here.  And 
firft  it  is  to  be  noted  that  in  the  year  1622  a  fociety  was  eftablifhed  at  Bologna  by  Girolamo 
Giacobbi,  called  the  Accademia  de'  Filomufi  ;  the  fymbol  of  this  fraternity  was  a  little  hill 
with  reeds  or  canes  growing  on  it,  the  motto  *  Vocis  dulcedine  captant.*  In  1633  another 
was  inftituted  in  the  fame  city  by  Domenico  Burnetii  and  Francefco  Bertacchi,  called  the 
Accademia  de'  Mufici  Filachifi,  having  for  its  fymbol  a  pair  of  kettle-drums,  and  for  a  motto  » 
«  Qrbem  demulcet  atta^u.'  One  of  the  two  is  yet  fubfifting,  but  it  is  uncertain-which.  Ibid. 

Vol.  III,.  Hh  ©f^ 


234  HISTORY    OF    THE    SCIENCE      Book  fl. 

'of  a  curious  organ,  formed  to  the  r^femblance  of  a  fcrew,  with  pipes 
•of  box-wood  all  of  one  piece,  like  a  flute  ;  and  a  harpfichord  invented 
by  Don  Nicola  Vicentino  furnamed  Arcimufico,  comprehending  in 
the  divifion  of  it  the  three  harmonic  genera.  He  adds  that  the  multi- 
tude of  chords  in  this  aftonifhing  inftrument  rendered  it  very  difficult 
to  tune,  and  more  fo  to  play  ;  and  that  for  this  latter  reafon  the  moft 
fkilful  performers  would  feldom  care  to  meddle  with  it :  neverthelefs, 
he  adds,  that  Luzzafco,  the  chief  organift  of  his  highnefs,  who  it  is 
fuppofed  muft  have  underltood  and  been  familiar  with  the  inflrument, 
•was  able  to  play  on  it  with  wonderful  flcill.  He  fays  that  this  inftru- 
ment  by  way  of  pre-eminence  was  called  the  Archlcembalo  ;  and  that 
after  the  model  of  it  two  organs  were  built,  the  one  at  Rome,  by  the 
order  of  the  Cardinal  of  Ferrara,  and  the  other  at  Milan,  under  the 
direOion  of  the  inventor  Don  Nicola,  in  or  about  the  year  1575, 
who  died  of  the  plague  foon  after  it  was  finifhed. 

I'he  author  relates  that  the  duke  of  Ferrara  had  many  Italian  and 
foreign  muficlans  retained  in  his  fervice  ;  and  a  very  large  colledtion  of 
mufical  compofitions,  in  print  and  in  manufcript,  and  a  great  number 
of  fervants,  whofe  employment  it  was  to  keep  the  books  and  inftru- 
ments  in  order,  and  to  tune  the  latter.  The  principal  diredor  of 
the  mufical  performances  was  [Ippolito]  Fiorino,  maeftro  di  cappella 
to  his  highnefs  the  duke. 

Whenever  a  concert  was  to  be  performed  at  the  duke's  palace,  cir- 
cular letters  were  iffued,  requiring  the  attendance  of  the  feveral  per- 
formers, who  were  only  fuch  as  had  been  previoufly  approved  of  by 
the  duke  and  Luzzafco  ;  and  after  repeated  rehearfals,  was  exhibited 
that  mufical  entertainment,  which,  for  order,  exadnefs,  and  harmony, 
could  not  be  equalled  by  any  of  the  like  kind  in  the  world. 

Meloni  fays  that  of  the  vocal  mufic  ufually  performed  in  this  and 
other  concerts  in  Italy,  the  canzones  of  theFlemifh  and  French  com- 
pofers  were  fome  of  the  heft.  He  fpeaks  of  a  cuftom  in  Bologna, 
though  it  is  common  in  moft  cities  of  Italy,  Spain,  and  Portugal, 
viz.  that  of  ferenading  or  entertaining  ladies  and  great  perfonages  with 
ambulatory  concerts  under  their  windows,  and  in  the  night ;  and, 
laftly,  he  celebrates  for  their  fkill  in  mufic,  and  exquifite  performance 
on  fundry  inftruments,  the  ladies  of  the  duchefs  of  Ferrara,  and  the 
nuns  of  St.  Vito  *,  whom  he  refembles  to  the  Graces. 

*  Thefe  nuns  are  celebrated  for  their  fkill  in  mufic  by  Artufi,  in  the  beginning  of  his 
difcourfc  <  Delle  Impcrfettioni  della  moderna  mufica.' 


-Chap.  6.       AND    PRACTICE    OF    MUSIC. 


23s 


CHAP. 


VI. 


SCIPIO     CERRETrS     MUSICUS     PARTENOPETTS 
MJJCI. 


SciPioNE  Cerreto,  aNeapolItan,  was  the  author  of  a  treatife  Inti- 
tled  *  Delia  prattica  mufica  vocale,  et  ftrumentale,'  quarto,  1601. 
This,  though  it  appears  to  be  an  elaborate  work,  and  promiles  great 

H  h  2 


in- 


236  HISTORY    OF    THE    SCIENCE     Book  I!i 

inftrudion  to  fuch  as  delight  in  mufic,  contains  little  more  refpeding 
the  fcience  than  is  to  be  found  in  Boetius,  Franchinus,  Zarlino,  Zac- 
cone,  and  other  of  the  Italian  writers.  It  appears  by  this  author  that 
in  his  time  inftrumental  mufic  was  arrived  at  great  perfection  in  Italy, 
and  more  particularly  at  Naples,  for  he  gives  a  copious  lift  of  compo- 
fers  and  excellent  performers  on  the  lute,  the  organ,  the  viol,  the  guit- 
tar,  the  trumpet,  and  the  harp,  who  fiouri{hed  in  his  time,  and  were 
either  natives  of,  or  relident  in  that  city. 

In  the  eighth  chapter  of  his  fourth  book  the  author  intimates  thatr 
he  himfelf  was  a  performer  on  the  lute  ;  and,  befides  giving  diredions . 
for  the  holding  and  touching  it,  he  explains  with  great  perfplcuity 
the  tablature  of  the  Italians  adapted  to  the  lute  of  eight  chords  j  andi 
firft,  he  gives  the  charaders  for  time,  which  are  no  other  than  thofe: 
defcribed  by  Adrian  le  Roy,  and  which  have  already  been  exhibited.. 
And  after  that  the  tuning  as  here  reprefented  : 


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chords  in  this  order  : 


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And 


CUp.6.    AND    PRACTICE    OF    MUSIC. 


237 


-^^j^^jkjiL^^^^^ 


And  after  thefe  the  tablature  by  figures  according  to  the  Italian^ 
manner,  as  here  reprefented  : 


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* 


Cap.  IX.  of  the  fame  book  treats  of  an  inftrument  refemMing  a  lute 
of  feven  chords,  called  by  the  author  Bordelletto  alia  Taliana  ;  and 
cap.  X.  of  another  of  the  fame  kind,  called  the  Lira  inGamba,  having 
eleven  chords,  with  their  feveral  tunings,  and  of  the  tablature  proper 
to  each,  in  figures. 

Cap.  XI.  treats  of  the  Viola  da  Gamba,  an  inftrument,  as  the  au- 
thor remarks,  proper  to  accompany  the  voice  in  finging.  It  appears 
that  the  ancient  method  of  notation  for  this  inftrument  among  the 
Italians  v^^as  by  figures.  This  kind  of  notation  was  pradifed  both  by. 
the  Italians   and   Spaniards,  and  differs  from  the  French  tablature, - 

which  = 


2:8  HISTORY    OF    THE    SCIENCE       Book  IL 


:> 


which  is  by  the  letters  of  the  alphabet :  who  was  the  inventor  of  it 
we  are  yet  to  learn;  Vincentio  Galilei  explained  and  improved  it; 
hut,  notwithftanding  this,  it  has  long  fince  given  way  to  the  French, 
perhaps  as  being  more  legible  and  lefs  intricate. 

This  book  of  Cerreto  abounds  with  curious  particulars  relating  to 
niufjc,  but  it  has  been  remarked  that  the  language  and  ilyle  of  it  arc 
▼ery  indifFerent* 

Befides  the  feveral  perfons  herein  before  particularly  enumerated, 
there  fiourilhed  in  this  century  many  very  eminent  mafters,  of  whom 
little  more  is  known  than  their  general  charad:ers,  arifing  either 
from  their  compofitions,  or  their  fkill  and  cxquifite  performance  on 
the  organ  :  among  the  former  thefe  are  highly  celebrated,  Giovanni 
Cavaccio  of  Bergamo,  maeftro  di  cappella  di  8.  Maria  Maggiore  ; 
Jacques  Arcadelt,  a  Frenchman,  a  difciple  of  Jofquin,  and  maeflro 
di  cappella  to  the  Cardinal  of  Lorrain  ;  Johannes  Kncfel,  a  German, 
maeflro  di  cappella  to  the  elc(5tor  Palatine;  Ludovicus  Senfelius, 
born  at  Zurich,  maeftro  di  cappella  to  the  eledor  of  Bavaria  ;  Anto- 
nio Scandelli,  maeftro  di  cappella  at  Drefden  ;  Gio.  Maria  Roffi,  of 
Brefcia ;  Nicolaus  Roftius,  a  native  of  Weimar,  and  mafter  of  mufic 
in  the  court  of  the  elector  Palatine  ;  Gio.  Battifta  Pinelli,  a  Gcnoefe 
by  birth,  and  maeftro  di  cappella  at  Drefden  : 
As  are  alfo  thefe, 

Agrefta,  Agoftino.  Converfi,  Girolamo. 

Angehni,  Orazio.  Corregio,  Claudio. 

Animuccia,  Paolo.  Donati,  Baldaflare. 

Baccufi,  Hippolito.  Duetto,  Antonio. 

Baflani,  Orazio.  Eremita,  Giulio. 

Bellafio,  Paolo.  Faignient,  Noe. 

Belli,  Giulio.  Farino,  Francefco. 

Bellhaver,  Vincenzo.  Fattorini,  Gabriello. 

Bertani,  Lelio.  Felis,  Stefano. 

Blotagrio,  Guglielmo.  Ferretti,  Giovanni. 

Blafius,  Ammon.       ,^  Fonteijo,  Gio. 

Bonhomius,  Petrus.  Gabrieli,  Andrea. 

Cafati,  Girolamo.  Gaftoldi,  Giacomo. 

Colombi,  Gio.  Bernardi.  Handl,  Jacobus. 

Comis,  Michelc.  In^egneri,  Marc.  Ant. 

Laura, 


Ch0p.-6.    AND    PRACTICE    OF    MUSIC. 


23^ 


Laura,  Dominico. 
Leoni,  Leon. 
Lucatello,  Gio.  Eatt. 
Macque,  Giov.  de 
Mancini,  Curtlo. 
Manenti,  Giov.  Pletro. 
Marfolo,  Pietro  Maria. 
Malbrelli,  Paolo. 
MafTanio,  Tiburtio. 
Molinaro,  Simone. 
Mofcaglia,  Giov.  Batt. 
Mofto,  Gio.  Batt. 
Nafco,  Giov. 
Nenna,  Pomponlo. 
Nodari,  Gio.  Paolo. 
Nucetus,  Flaminius. 
Palma,  Gio.  Vincenzo. 
Pace,  Antonio. 
Pefenti,  Benedetto. 
p€vernagius,  Andreas. 
Pizzoni,  Giov. 
Ponte,  Giaches  de. 


Pra^torius,  Hieronymus. 
Quartiero,  Pietro  Paolo. 
Quagliata,  Paolo. 
Reggio,  ".Spirito. 
RolTi,  Salomon. 
Rubiconi,  Chryfollom. 
RufFo,  Vincenzo. 
Sabino,  Hippolito. 
Santini,  Marfilio. 
Scaletta,  Orazio. 
Scarabeus,  Damianus. 
Spongia,  Francefco. 
Spontone,  Aleflandro. 
Stabile,  Annibale. 
Turnhout,  Giov. 
Utendahl,   AlelGTandro. 
Valcampi,  Curtio. 
Verdonck,  Cornelius, 
Vefpa,  Geronimo. 
Violante,  Giov.  Franc. 
Waelrant,  Hubert. 
Zoilo,  Annibale. 


Pordenone,  Marc.  Ant.  ' 

Of  organifts,  the  following  were  fome  of  the  moft  eminent,  Gio- 
fefFo  Guammi,  of  Lucca  -,  Ottavio  Bariola,  organift  of  Milan  j  and 
Annibale  Patavina,  of  Venice  ;  Johannes  Leo  HaHer,  of  Nurem- 
berg; Jacobus  Paix,  a  native  of  Auglburg,  and  organift  of  Lawingcn. 

Of  thefe  it  is  to  be  obferved  that  they  were  for  the  moft  part  na- 
tives of  Italy,  Germany,  and  Flanders  -,  for  it  is  ftrange  to  fay,  that, 
excepting  England,  thofe  were  almoft  the  only  countries  in  Europe 
in  which  mufic  may  be  faid  to  have  made  any  confiderable  progrefs. 
Doni  obferves  that  Spain  had  in  the  courfe  of  a  century  produced 
only  two  men  of  eminence  in  mufic,  namely,  Chriftopher  Morales 
and  Francifcus  Salinas ;  and  among  the  French  fcarce  any  muficians 
of  note  are  mentioned  befides  Jufquin  de  Prez,  Jean  Mouton,  Cre- 
quilon  and  Claude  le  Jeune*.     In  England,  Tye,  Tallis,  Bird,  Bull, 

*  Tufqmn  de  Prez  is  juftly  reckoned  among  the  earlieft  of  the  French  compofers,  but  the 
fcience  of  counterpoint  had  been  cultivated  to  fome  degree  before  his  time  ;  one  Guillaumc 
Guerfon  of  Longuevilk,  a  town  in  Upper  Normandy,  was  the  author  of  a  treatile  prmt- 


240  HISTORY    OF    THE    SCIENCE       Book  IL 

and  Dowland  were  highly  efteemed  ;  and  it  is  confidently  aflerted 
that  in  the  general  opinion  they  were  equal  to  the  beft  muiicians  of 
any  country ;  and  the  fame  is  faid  of  Peter  Phillips,  an  Englifhman,, 
organift  to  the  archduke  and  duchefs  of  Auftria,  Albert  and  Ifabella,, 
governors  of  the  Netherlands,  refiding  at  BrufTels  ;  butofthefe,  and; 
other  of  our  countrymen,  mention  will  be  made  hereafter. 

It  has  been  already  remarked,  that  during  the  laft  half  of  the  fix- 
teenth  century,   the  madrigal  was  the  fpecies  of  vocal  compofition. 
moft  pradifed  and  encouraged  ;  and  as  finging  was  the  ufual  enter- 
tainment of  the  well-bred  of  both  fexes,  and  had   not   then  given: 
place  to  cards  and  games  of  chance  ^  the  demand  for  variety  was  fo^ 
great  as  to  excite  an  emulation  in  all  that  were  qualified  for  it,  to> 
excel. in  this  kind  of  compofition  i  and  innumerable   were  the  col- 
ledtions    of  madrigals   which  about   this    time  were   given  to   the. 
world    by    their   refpedive  authors.      They   were   generally   pub— 
lifhed  in  an  oblong  quarto  fize,  with  both  the  notes  and  words  print- 
ed in  a  good  character  on  letter-prefs  types,  and  without  bars  j  from 
fuch  books  as  thefe  it  was  held  a  difgrace  for  any  perfon  of  rank  or 
education  not  to  be  able  to  fing  *. 

In  confequence  of  this  difpofition  in  the  public  fuch  a  profufion  of 
vocal  harmony  was  poured  forth,  as  ferved  rather  to  diflracft  than 
oblige  the  votaries  of  the  fcience ;  and  it  became  neceffary  to  diredi 
their  choice  by  a  judicious  feledlion  of  fuch  compofitions  as  were  mofl 
worthy  of  their  regard  :  to  this  end  one  Melchior  Borchgrevinck,  or- 
ganiil:  to  the  king  of  Denmark,  publiflied  at  Copenhagen,  in  the  year 

€(1  at  Paris  by  Michael  Thouloze,  with  this  title,  *  Utilliflime  muficales  regule  cun£lis  lum- 

*  opere  neceilarie  plani  catus  sTplifis  cotrapun£li  reru  fa£laru  tonoru  et  artis  accentuandi  , 

*  tam  exepiai  iter  quam  practice.'     [The  Colophon  after  the  word  faiSlaru  adds  '  feu  orga- 
norum.']     The  book  bears  no  date,  but  from  the  ftyle  and  charafter  of  it,  it  is  conjefturcd  \ 
to  be  nearly  as  ancient  as  the  time  of  Franchlnus. 

*  CaftigTione  requires  of  his  courtier  that  he  be  able  to  fing  his  part  at  fight.  Bandello 
in  one  of  his  novels  fpeaking  of  an  accompliihed  young  man,  fays  *  Eraii  detto  Gioliine 

*  molto  coftumato  e  vertuofo,  &  oltra  le  buone  lettere,  fi  dilettaua  mirabilmente  de  la  mu- 

*  fica,  cantaua  bene  la  fua  parte  e  foura  d'  ogni  ftrumento/     Novelle  del  Bandello,  part  II,  , 
Nov.  XKV.  and  in  Morley's  introdudion  the  reafon  given  by  Philomathes  for  applying  to 
a  mafter  for  inftru£lion  in  mufic  is  as  follows :  *  Being  at  a  banket  of  mafler  Sophobulus, 

*  fupper  being  ended,  and  muficke  bookes,  according  to  the  cuftome,  being  brought  to 

*  the  table,  the  miftreffe  of  the  houfe  prefented  mee  with  a  part,  earneftlie  requeuing  mee 

*  to  fing.     But  when,  after  manie  excufes,  I  protefted  unfainedly  that  I  could  not,  euerie 

*  one  began  to  wonder.     Yea,  fome  whifpered  to  others,  demanding  how  I  was  brought 

*  up.     So  that  for  (hame  of  mine  ignorance,  I  go  now  to  feek  out  mine  olde  frinde  Mafter : 

*  Gnorimus  to  make  myfelf  bis  Ccholler.' 

1606, 


Chap./.      AND    PRACTICE    O'F    MUSIC.  141 

5606,  a  coUedtion  of  madrigals  for  five  voices,  Intitled  '  Giardino  novo 
^  belliffimo  de  varii  fiori  muficali  fcieltiffimi,'  in  two  parts,  the  latter 
whereof  is  dedicated  to  our  king  James  I.  and  about  the  fame  time 
four  perfons,  namely,  Pietro  Phalefio,  a  bookfeller  of  Antwerp,  and 
Andrea  Pevernage,  Hubert  Waelrant,  and  Pietro  Philippi  above- 
named,  three  excellent  muficians,  in  a  kind  of  emulation  feverally 
publiflied  a  colledion  of  madrigals  with  the  following  titles,  Mufica 
Divina,  Harmonia  Celefte,  Symphonia  Angelica,  Melodia  Olympica, 
with  this  uniform  declaration  of  their  contents  inthefe  words,  *  Nella 

*  quale  fi    contengono   i   piu    eccellenti   madrigali   che    hoggidi   (i 

*  cantino.'  They  were  printed  for  Phalefio,  and  fold  at  his  (hop,  the 
iign  of  king  David  in  Antwerp. 

Thefe  compofitions  were  to  words  of  Petrarch,  Guarini,  Tafib,  Ma- 
rino, Fulvio  Tefti,  and  other  Italian  poets  j  and  in  the  memory  of  fuch 
as  underftood  and  admired  mufic,  a  favourite  madrigal  held  the  place 
of  a  popular  fong ;  among  other  evidences  to  this  purpofe,  a  little 
poem  of  Sir  Philip  Sidney,  printed  with  the  fonnets  at  the  end  of  his 
Arcadia,  beginning  *  Sleep  baby  mine,'  may  be  reckoned  as  one,  as 
it  is  direded  to  be  fung  to  the  tune  of  *  Bafciami  vita  mia,'  a  fine  ma* 
drigal  of  No€  Faignient,  printed  in  the  Mufica  Divina. 


CHAP.         VII. 

OF  Engli{h  muficians,  the  firfi:  of  note  after  the  reformation  of  re* 
ligion,  and  indeed  of  mufic  itfelf,  which  had  been  greatly  cor- 
rupted by  the  ufe  of  intricate  meafures,  was  John  Marbeck,  of 
Windfor,  a  man  to  whom  church-mufic  has  greater  obligations  than  the 
world  is  fenfibleof  i  for  notwithfi:anding  the  vulgar  opinion  thatTallis 
compofed  it,  it  is  certain  that  the  cathedral  mufical  fervice  of  the 
church  of  England  was  originally  framed  by  Marbeck,  and  that  the 
mufical  notes  to  the  Preces,  Suffrages,  and  Refponfes,  as  they  are 
at  this  day  fung  in  choral  fervice,  were  of  his  compofition. 

The  hifiiory  of  this  man  has  intitled  him  to  a  place  in  the  Mar- 
tyrology  of  the  zealous  and  laborious  John  Fox,  and  is  as  follows  : 

About  the  year  j  544,  a  number  of  perfons  at  Windfor,  who  favour- 
ed the  Reformation,  had  formed  themfelves  into  a  fociety  ;  among 
them  were  Anthony  Perfon,  a  prieft,  Robert  Teftwood,  a  finging- 
man  in  the  choir  of  Windfor,  a  man  in  great  eftiination  for  his  ikill 

in 


242  HISTORY   OF  THE   SCIENCE      BooklL. 

in  mufic,  and  whofe  name  occurs  in  Morley's  Catalogue  of  eminentr 
Engliili  muficians  at  the  end  of  bis  Introdudion  ;  the  above-named 
John  Marbcck,  who  by  a  miftakeof  bifliop  Burnet  ivS  alfo  called  a  fing- 
ing-man,  but  in  truth  was  organift  of  the  chapel  of  St.  George  at 
Windfor  *,  and  one  Henry  Filmer,  a  tradefman  of  tire  fame  town. 
Upon   intimation   given   that  thefe  perfons  beld  frequent  meetings,, 
Gardiner  bishop  of  Winchefter  procured  a  commiffion  from  the  king 
to  fearch  fufpedled  houfes  in  the   town  for  heretical  books  "f*;  upon 
which  the  four  perfons  above-named  were  apprehended,  and  their 
-books- feized,  among  which  were  found  fome  papers  of  notes  on  the 
Bible,  and  a  Concordance  in  Englifh,  in   the  hand-writing  of  Mar- 
beck.      Upon  his  examination  before  the  commiffioners  of  the  fix  ar^ 
tides  touching  thefe  papers,  he  faid,  as   to  the   notes,  that   he  red, 
much  in  order  to  underftand  the  Scriptures  j  and  that   whenever  he 
met  with  any  expofition  thereof  he  extraded  it,  and  noted  the  name: 
of  the  author  J;  and  as  to  the  Concordance,  that  being  a  poor  man,, 
he  could  not  afford  to  buy  a  copy  of  the  Englifti  Bible,  which  had' 
then  lately  been  publifhed   with  notes  by  Thomas  Matthews  j  and 
therefore  had  kt  himfelf  to  write  one  out,  and  was  entered  into  the 
book  of  JoHiua^  when  a  friend  of  his,  one  Turner  §,  knowing  his 
induftry,  fuggefted  to  him  the  writing  of  a  Concordance  in  Englifh,, 
but   he  told   him  he   knew  not   what   that  meant,  upon  which  his. 
friend  explained  the  word  to  him,   and  furniflied  him  w^ith  a  Latin 
Concordance  and  an  Englifh  Bibles  and.  having  in  his  youth  learned 
a  little  Latin,  he,  by  the  help  of  thefe,  and  comparing  the  Englidi 
with  the  Latin,  was  enabled  to  draw  out  a  Concordance,  which  he 
had  brought  as  far  as  the  letter  L.     This  feemcd  to  the  commiffioners. 
who  examined  him  a  thing  fo  ftrange  that  they  could  not  believe  it. 
To  convince  them  Marbeck  defired  they  would  draw  out.  any  words, 
under  the  letter  M.  and  give  him  the  Latin  Concordance  and  Eng- 
liih  Bible,  and  in  a  day's  time  he  had  filled  three  flieets  of  paper  with 
a  continuation   of  his  v/ork,  as  fan  as  the  words  given  would  enable 
him    to   do  ^.       The    ingenuity   and    induflry   of    Marbeck    were 

*  Wood  fo  defcribes  him,  vide  Fafti,  Oxon.  anno  1550  ;  and  he  is  fo  ftyled  at  the  end 
of  a  compofition  of  his  hereinafter  inferted,  taken  from  a  MS.  in  the  hand-writing  of  Johri, 
Baldwine,  a  mufician  of  Windfor,  v/hich  was  compleated  in  the  year  1591.     Neverthg-- 
lefs  Bifhop  Burnet  calls  him  a  finging-man.     Hift.  Reform,  vol.1,  png.  ^25. 

t  A6ls  and  Monumejits,  edit.  1641,  vol,  II.  pag.  546. 

I  Ibid.  550.  §  Ibid.  1  Ibid. 


Chap.y."      AND    PRACTICE    OF    MUSIC.  243 

much  applauded,  even  by  his  enemies  ;  and  it  was  faid  by  Dr. 
Oking,  one  of  the  commifiioners  who  examined  him,  that  he  had 
been  better  employed  than  his  accufers.  However,  neither  his  in- 
genuity nor  induftry  could  prevent  his  being  brought  to  a  trial  for 
herefy,  at  the  fame  time  with  the  three  other  perfons  his  friends  and 
affociates  :  Perfon  and  Filmcr  were  indided  for  irreverent  expreffions 
concerning  the  mafs  j  the  charge  againft  Marbeck  was  copying  with 
his  own  hand  an  epiftle  of  Calvin  againft  it,  which  it  feems  was  a 
crime  within  the  ftatute  of  the  well-known  fix  articles,  and  they  were 
all  four  found  guilty  and  condemned  to  be  burnt,  which  fentcnce 
was  executed  on  all  except  Marbeck,  the  next  day  after  the  trial*. 

Teftwood  had  difcovered  an  intemperate  zeal  in  dilTuading  people 
from  pilgrimages,  and  had  ftricken  off  with  a  key,  the  nofe  of  an  ala- 
bafter  image  of  the  Virgin  Mary,  which  ftood  behind  the  high  altar 
of  St.  George's  chapel  f .     It  is  alfo  related  of  him  that  in  the  courfe 
of  divine  fervice  one  of  the  fame  chapel,  named  Robert  Phillips  +,  fing- 
ing,  as  his  duty  required,  on   one  fide  of  the   choir,  thefe   v/ords, 
«  O  redemptrix  et  falvatrix,'  was  anfwered  by  Teftwood  finging  on 
the  other  fide,  *  Non  redemptrix  nee  falvatrix  §.' 
■    For  thefe  offences  the  four  Windfor  men,  as  they  are  called,  were  fe- 
verally  indided,  and  by  the  verdid  of  a  partial  jury,  compofcd  of  farmers 
under  the  college  of  Windfor,  grounded  on  the  teftimony  of  witneffes, 
three  of  whom  were  afterwards  convided  of  perjury  in  their  evidence 
at  the  trial,  they  were  all  found  guilty  of  herefy,  and  condemned  to 
be  burnt,  which  fentence  was  executed  at  Windfor  on  Perfon,  Teft- 
wood, and  Filmer  the  next  day  ||. 

It  feems  that  the  king,  notwithftanding  the  feverity  of  his  temper, 
pitied  the  fufferings  of  thefe  men,  for  at  a  time  when  he  was  hunt- 
ing in  Guildford  park,  feeing  the  (heriff  and  Sir  Humfrey  Fofter,  one 
of  the  commiffioners  that  fat  at  the  trial,  together,  he  alked  them  how 
his  laws  were  executed  at  Windfor,  and  upon  their  anfwering  that 
they  never  fat  on  matter  that  went  fo  much  againft  their  confciences 
as  the  trial  of  Perfon  and  his  fellows,  the  king,  turning  his  horfe's 
head  to  depart,  faid  *  Alas  poor  innocents !' 

*  Aasand  Monuments,  edit.   1641,  vol.  II.  pag.  553.  t  Hm^^-   5+3- . 

1  Of  this  man  Fox  fays  that  he  was  fo  notable  a  frngingman,  wherein  he  gloried,  that 
wherefoever  he  came  the  lomjcft  fong  with  moft  counterverfes  m  it  flioidd  be  fet  up  at  his 
coming.  His  name,  fpelt  Phelinp,  occurs  as  a  gentleman  of  the  chapel  m  the  lilts  ot  the 
chapel  eflabiifhment  both  of  Edward  Vi.  and  queen  Mary. 

§  Arts  and  Monuments,  vol.  II.  pag.  544.  11  Ibid-  543* 

Vol.  III.  I  i  ^"^ 


244  HISTORY    OF    THE    SCIENCE     Book  XL 

But  Marbeck  being  a  man  of  a  meek  and  harmlefs  temper,  and 
highly  efteenied  for  his  fkill  in  mufic,  was  remitted  to  Gardiner,  who 
was  both  his  patron  *  and  pcrfecutor,  in  order  cither  to  his  purga- 
tion, or  a  difcovery  of  others  who  might  have  contradled  the  taint  of 
here/y ;  but  under  the  greateft  of  all  temptations  he  behaved  with 
the  utmofl:  integrity  and  uprightnefs,  and  refufing  to  make  any  dif- 
coveries  to  the  hurt  of  others,  he,  through  the  interceffion  of  Sir 
Humfrey  Fofter,  obtained  the  king's  pardon. 

Having  thus  efcaped  martyrdom,  he  applied  himfelf  to  the  fludy 
of  his  profeffion,  and,  not  having  been  required  to  make  any  pub- 
lic recantation,  he  indulged  his  own  opinions  in  fecret,  without 
doing  violence  to  his  confcience,  or  giving  ofFence  to  others,  till  the 
death  of  Henry  VIII.  which  happened  about  two  years  after,  when 
he  found  himfelf  at  liberty  to  make  a  public  profeffion  of  his  faith, 
as  an  evidence  whereof  he  completed  his  Concordance,  and  publifhed 
it  in  1550  :  he  wrote  alfo  the  following  other  books,  *  The  Lines  of 

*  holy   Saindls,    Prophets,    Patriarchs,    and   others,'    quarto,    1574* 

*  A  Book  of  Notes  and  Common  Places  with  their  Expofitions,  col- 

*  leded  and  gathered  together  out  of  the  v/orkes  of  divers  fingular 
'  writers,*  quarto,  1581.  *  The  ripping  up  of  the  Pope's  Fardel,* 
I  c8  r.      *  A  Dialogue  between  Youth  and  Age  ;'  and  other  books  -f*. 

The  hiftory  of  Marbeck's  troubles  is  given  at  large  by  Fox,  who^^ 
notwithftanding  he  was  acquainted  with  him,  and  had  the  relation 
of  his  fufFerings  from  his  own  mouth,  in  the  firft  edition  of  his  Ads 
and  Monuments,  publifhed  in  1562,  inftead  of  a  confeffbr,  has  made 
him  a  martyr,  by  afferting  that  he  actually  fufFered  in  the  flames  at 
Windfor  with  Perfon  and  the  other  two;  which   miflake,  though 

*  It  appears  by  fundry  expreffions  of  Gardiner  to  Marbeck,  tbat  he  had  an  afFeclion  for 
liim,  poffibly  grounded  on  his  great  fkill  in  his  profefTion.  Fox  relates  that  at  the  third 
examination  of  Marbeck  at  Winchefter-houfe,  in  Southvvark,  upon  his  appearance  in  the 
hall  he  found  the  bifliop  with  a  roll  in  his  hand,  and  going  toward  the  window,  he  cal-- 
led  to   him,  and    faid,  '  Marbeck,  wilt   call   away  thyfelf?'  upon   his  anfwering   No, 

*  Yes,'  replied  the  bifhop,  '  thou  goeft  about  it,  for  thou  wilt  utter  nothing.    What  a  devil. 

*  made  thee  to  meddle   with  the  Scriptures  ?  Thy  vocation  was  another  way,  wherein 

*  thou  haft  a  goodly  gift,  if  thou  diddeft  efteeme  it.'     *  Yes/  anfxvered  Marbeck,  '  I  do 

*  efteeme  it,  and  have  done  my  part  therein  according  to  that  little  knowledge  that  God 
<  hath   given  me.'     '  And  vi'hy  the  devil,'  fnld  the  bifhop,  '  didft  thou  not  hold  thee 

*  there?'  And  when  Marbeck  confeiTed  that  he  had  compiled  the  Concordance,  and  that- 
without  any  help  fave  of  God,  the  bifhop   faid,  '  I  do  not  difcommend  thy  diligence, 

*  but  what  (houldeft  thou  meddle  with  that  thing  which  pertaineth  not  to  thee?'  A£ls.. 
and  Monuments,  edit,  1641,  vol.11  page  548.  Thefe  expreffions,  harfh  as  they  were,, 
fcem  to  indicate  a  concern  in  Gardiner  that  Marbeck  had  brought  himfelf  into  trouble, 

i  VideFafti  Oxon.  anno  155Q, 


Chap.;.      AND    PRACTICE    OF    MUSIC.  245 

he  correded  it  in  the  fubfcquent  edition  of  his  work  J,  expofed 
him  to  very  fevere  cenfurcs  from  Cope,  Parfons,  and  other  Romifli 
writers  *. 

-The  mufical  fervice  thus  framed  by  Marbeck,  and,  for  ought  that 
appears,  without  the  leaft  affiftance  from  any  of  his  profeffion,  was 
publiQied  with  this  title,  *  The  Boke  of  Common  Praier,  noted.' 
The  Colophon,  *  Imprinted  by  Richard  Grafton,  printer  to  the  kinges 
<  majeftie,  1550,  cum  privilegio  ad  imprimendum  folum,*  with  the 
name  John  Merbecke  in  the  preceding  page,  to  intimate  that  he  was 
the  author  or  compoferof  the  mufical  notes,  which  are  fo  very  little 
different  from  thofe  in  ufe  at  this  day,  that  this  book  may  truly  be 
confidered  as  the  foundation  of  the  folemn  mufical  fervice  of  the 
church  of  England. 

A  particular  account  of  this  curious  work  will  be  given  hereafter, 
in  the  interim  it  is  neceflary  to  fay  that  it  was  formed  on  the  model 
of  the  Romifh  ritual  j  as  firft,  there  was  a  generaljecitatory  intonation 
for  the  Lord's  Prayer,  the  Apoflle's  Creed,  and  fuch  other  parts  of 
the  fervice  as  were  moft  proper  to  be  red,  in  a  certain  key  or  pitch  : 
To  the  introitus,  fupplications,  fuffrages,  refponfes,  prefaces,  poft- 
coi?imunions,  and  other  verficles,  melodies  were  adapted  of  a  grave 
and  decent  form,  and  nearly  as  much  reftrained  as  thofe  of  St.  Am- 
brofe  or  Gregory  j  and  thefe  had  an  harmonical  relation  to  the  reft 
of  the  fervice,  the  dominant  in  each  being  in  unifon  with  the  note  of 
the  key  in  which  the  whole  was  to  be  fung,  ^ 

The  abilities  of  Marbeck  as  a  mufician  may  be  judged  of  by  the 
following  hymn  of  his  compofition. 

X  Vol.  II.  printed  in  1576,  in  which  he  fays  of  Marbeck,  *  he  is  yet  not  dead,  but 
«  liveth,  God  be  praifcd,  and  yet  to  this  prefent  fingeth  merrily,  and  playeth  on  the 

•  organs.'  .•     r 

*  To  fay  the  truth,  Fox's  zeal  for  the  Proteftant  caufe  has  very  much  hurt  the  credit  ot 
his  hiftory  ;  as  a  proof  of  his  lightnefs  of  belief  take  the  following  flory,  which  lord  chief 
juftice  Coke  once  told  of  him.  Fox  in  his  Martyrology  had  related  of  one  Greenwood 
of  Suffolk  that  he  had  been  guilty  of  perjury,  in  teffifying  before  the  bifliop  of  Norwich 
againft  a  martyr  during  the  perfecution  in  the  reign  of  queen  Mary  ;  and  that  afterwards 
he  went  home  to  his  houfe,  and  there  by  the  judgment  of  God  his  bowels  rotted  out  of  his 
belly  as  an  exemplary  punifhment  for  his  perjury.  A  prielf,  who  had  newly  been^ade 
parfoa  of  the  parifh  where  Greenwood  lived,  and  was  but  little  acquainted  with  his  pa- 
riftiion^,  preaching  againft  the  fin  of  perjury,  cited  this  llory  from  Fox,  mentioning 
Greenv^od  by  name,  who  was  then  in  the  church  liftening  attentively  to  the  fermon  :  the 
man,  extremely  fcandalized  by  lb  foul  an  afperfion,  brought  his  adioi!  againft  the  parfon, 
which  was  tried  at  the  aOizes  before  Anderfon,  who  ruled  that  the  adion  lay  riot,  inafmuch 
as  the  words  were  not  fpoken  with  a  malicious  intent,  but  merely  to  exemplify  the  divine 
vengeance  for  f(> heinous  a  fin.    RoUe's  Abridgm.  87.  PI.  5. 

I  i  2 


246 


II I  STORY   O  F  THE  S  G  IE  H  C  E     BooklL 


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Ch^p.  7.*    AND    PRACTICE    OF    MUSIC* 


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249 


_      ^^^^^vi^^_^-.  our  • 

JOHN    MARBBCK  ORGANIST  OF  WINDSORE 


250  HISTORY   OF    THE    SCIENCE      BookIL 

C     H     A     P.  VIII. 

CHRISTOPHER  Tye,  bom  at  Wefl:minfl:er,  and  brought  up  in  the 
royal  chapel,  was  mufical  preceptor  to  prince  Edward,  and  proba- 
bly to  the  other  children  of  Henry  VIII.  In  the  year  1 545  he  was  ad- 
mitted to  the  degree  of  dodtor  in  mufic  at  Cambridge  ;  and  in  1548 
was  incorporated  a  member  of  the  univerfity  of  Oxford  ;  in  the  reign 
of  queen  Elizabeth  he  was  organift  of  the  royal  chapel,  and  a  man  of 
fome  literature.  In  mufic  he  was  excellent  j  and  notwithftanding 
that  Wood,  fpeaking  of  his  compofitions,  fays  they  are  antiquated, 
and  not  at  all  valued,  there  are  very  fev/  compofitions  for  the  church 
of  equal  merit  with  his  anthems. 

In  an  old  comedy  or  fcenical  hiRory,  which  ever  it  is  proper  to  call 
it,  with  the  following  whimfical  title,  *  When  you  fee  me  you;fcnow 
*  me,'  by  Samuel  Rowley,  printed  in  16 13,  wherein  are  reprefented 
in  the  manner  of  a  drama,  fome  of  the  remarkable  events  during  the 
reign  of  Henry  VIII.  is  a  converfation  between  prince  Edward  and  Dr^ 
Tye  on  the  fubjed  of  mufic,  which  for  its  curiofity  is  here  inferted  ; 

*  Prince.     ■ ■ — —  Dodor  Tye 

Our  mufick's  lecturer  ?  pray  draw  nearc  :  indeed  I 
Take  much  delight  in  ye. 

*  lye.     In  muficke  may  your  grace  ever  delight, 
Though  not  in  me.     Muficke  is  fit  for  kings. 
And  not  for  thofe  know  not  the  chime  of  firings. 

*  Prince.     Truely  I  love  it,  yet  there  are  a  fort 
Seeming  more  pure  than  wife,  that  will  upbraid  it. 
Calling  it  idle,  vaine,  and  frivolous. 

*  lye.     Your  grace  hath  faid,  indeed  they  do  upbraid 
That  tearme  it  fo,  and  thofe  that  doe  are  fuch 
As  in  themfelves  no  happy  concords  hold. 
All  muficke  jarres  with  them,  but  founds  of  good  5 
But  would  your  grace  awhile  be  patient. 
In  mufickes  praife,  thus  will  I  better  it  : 
Muficke  is  heavenly,  for  in  heaven  is  muficke. 
For  there  the  feraphins  do  fing  continually  j 
And  when  the  beft  was  born  that  ever  was  man, 
A  quire  of  angels  fang  for  joy  of  it  j 

«  What 


€faap.  8.       AND    PRACTICE    OF    MUSIC.  ^51 

*  What  of  celeftial  was  reveald  to  man 

^  Was  much  of  muficke  :  'tis  faid  the  beafls  did  worship 

*  And  fang  before  the  deitie  fupernall  j 

*  The  kingly  prophet  fang  before  the  arke, 

*  And  with  his  muficke  charm'd  the  heart  of  Saul : 
'  And  if  the  poet  fail  us  not,  my  lord, 

'  The  dulcet  tongue  of  muficke  made  the  ftones 

*  To  moue,  irrationall  beafts  and  birds  to  dance. 

*  And  laft  the  trumpets  muficke  (hall  awake  the  dead, 

*  And  cloathe  their  naked  bones  in  coates  of  flefli, 

*  T'  appcare  in  that  high  houfe  of  parliament, 

*  When  thofe  that  gna(h  their  teeth  at  mufickes  found, 

*  Shall  make  that  place  where  muficke  nere  was  found. 

*  Prince.     Thou  giveft  it  perfc<5t  life,  fkilful  dodtor  5 

*  I  thanke  thee  for  the  honour'd  praife  thou  giveft  it, 

*  I  pray  thee  lets  heare  it  too. 

*  Tye,     'Tis  ready  for  your  grace.     Give  breath  to 

*  Your  loud-tun'd  inftruments. 

*  Loud  muficke, 

*  Prince.     'Tis  well :  methinkes  in  this  found  I  proue 

*  A  compleat  age, 

*  As  muficke,  fo  is  man  governd  by  ftops 

*  And  by  dividing  notes,  fometimes  aloft, 

*  Sometime  below,  and  when  he  hath  attaind 

*  His  high  and  lofty  pitch,  breathed  his  fharpeft  and  mod 

*  Shrilleft  ayre  j  yet  at  length  'tis  gone, 

*  And  fals  downe  flat  to  his  conclufion.     [^Soft  mufic.'] 

*  Another  fweetnefi^e  and  harmonious  found, 

*  A  milder  ftraine,  another  kind  agreement ; 

*  Yet  'mongft  thefe  many  firings,  be  one  untun'd, 

*  Or  jarreth  low  or  higher  than  his  courfe, 

*  Nor  keeping  fleddie  meane  amongft  the  reft, 

*  Corrupts  them  all,  fo  doth  bad  men  the  befi-. 

*  ^ye,     Ynough,  let  voices  now  delight  his  princely  eare. 

*  A  Song, 

*  Prince.     *  Dodtor  I  thank  you,  and  commend  your  cunning, 

*  I  oft  have  heard  my  father  merrily  fpeake 

*  In  your  high  praife  j  and  thus  his  highnefi^e  faith. 

Vol.  III.  K  k  '  England 


252  HISTORY    OF   THE    SCIENCE     BooklL 

*  England  one  God,  one  truth,  one  dodlor  hath 

*  For  mufickes  art,  and  that  is  Do^or  Tye  *, 

*  Admired  for  fkill  in  muficks  harmony. 

*  Tye,     Your  grace  doth  honour  me  with  kind  acceptancCj, 

*  Yet  one  thing  more  I  do  befeech  your  excellence, 

*  To  daine  to  patronize  this  homely  worke, 

*  Which  I  unto  your  grace  have  dedicate. 

•  Prince.    What  is  the  title  ? 

•  T^ye.     The  A6tes  of  the  holy  Apoftles  turnd  into  verfe,, 
'  Which  I  have  fet  in  feveral  parts  to  fing  : 

*  Worthy  ads  and  worthily  in  you  remembred. 

*  Prince.     I'll  perufe  them,  and  fatisfy  your  paines,. 

*  And  have  them  fung  within  my  father's  chapel  -f-. 

*  At  the  time  when  Farinelli  was  in  England,  viz.  about  the  year  1735.  an  exclama*" 
tion  of  the  like  kind,  and  applied  to  that  celebrated  finger,  gave  great  offence  -,  he  was 
finging  in  the  opera,  and  as  foon  as  he  had  finiflied  a  favourite  fong,  a  lady  from  the  boxes . 
cried  out  aloud,  '  One  God,  one  Farinelli.*  Mr.  Hogarth  has  recorded  this  egregious  in^ 
ftance  of  mufical  enthufiafm  in  his  Rake's  Progrefs,  plate  II.  by  reprefenting  Farinelli  as,; 
ieated  on  a  pedeftal,  before  which  is  an  altar,  at  which  a  number  of  ladies  are  kneeling  and 
offering  to  him,  each  a  flaming  heart ;  from  the  mouth  of  the  foremoll  of  thefe  enraptured 
devotees  iffues  a  label  with  the  words  *  One  G — d,  one  Farinelli.' 

f  In  another  part  of  this  old  comedy  Cranmer  and  Tye  appear,  and  arc  met  by  one 
young  Browne  with  the  prince's  cloak  and  hat,  Cranmer  enquires  of  him  what  is  become- 
of  the  prince,  and  is  told  that  he  is  at  tennis  with  the  marquis  of  Dorfet.     Upon  whicbm 
follows  this  dialogue  : 

Cranmer.    Goe  beare  this  youngfler  to  the  chappell  ftraight. 
And  bid  the  maifter  of  the  children  v^hippe  him  well. 
The  prince  will  not  learne,  Sir,  and  you  fhaJl  fmartfor  it. 

Browne.     O  good  my  lord,  I'il  make  him  ply  his  booke  to-m6rrow. 

Cranmer.     That  (hall  not  ferue  your  turne.     Away  I  fay.  \_Exit.\ 

So  Sir,  this  policie  was  well  deuifed  :  fince  he  was  whipt  thus 
For  the  prince's  faults 

His  grace  hath  got  more  knowledge  in  a  moneth, 
Than  he  aitaind  in  a  year  before ; 
For  ftill  the  feareful  boy,  to  faue  his  breech, 
Doth  hourely  haunt  him  wherefo'cre  he  goes. 

Tye.     'Tis  true  my  lord,  and  now  the  prince  perceiues  it, 
As  loath  to  fee  him  punifht  for  his  faults, 
Plies  it  of  purpofe  to  redeeme  the  boy. 

Upon  which  paffage  it  is  obfervable  that  there  appears  by  an  extraft  from  the  Liber  Niger, 
inferted  in  a  preceding  chapter  to  have  been  in  the  royal  houftiold  two  diitin^l  mafters,  the 
one  called  Mafter  of  Song,  whofe  duty  it  was  to  teach  the  children  cf  the  chapel  finging  ; . 
the  other  a  Mafter  of  the  Grammar-fchool,  who  taught  them  alfo,  and  probably  other  chil- 
dren in  the  palace,  the  rudiments  of  the  Latin  tongue  ;  and  as  Browne  does  not  appear  to- 
be  a  child  of  the  chapel,  it  feems  as  if  Cranmer  meant  to  fend  him  for  corre6lion,  not  to 
the  mafter  of  the  children  properly  fo  called,  i.  e.  the  mafter  of  fong,  but  to  the  mafter  of - 
the  grammar-fchool. 

It  will  doubtlefs  feem  very  ftrange,  feeing  he  had  not  been  guilty  of  any  fault,  that  Browne 
(hould  be  whipt  at  all,  but  Cranmer's  order  may  be  accounted  forj^     The  pratSlice  of  whip- 
ping 


Chap.  8.      AND    PRACTICE    OF    MUSIC.  253 

The  Ads  of  the  Apoftles,  mentioned  in  the  foregoing  dialogue, 
were  never  completed,  but  the  firft  fourteen  chapters  thereof  were  in 
^•553  printed  by  Wyllyam  Seres,  with  the  following  quaint  title  : 

*  The  Aaes  of  the  Apoftles,  tranflated  into  Englylhe  metre,  and  de- 

*  dicated  to  the  kynges  mofte  excellent  maieftye  by  Chriftofer  Tye, 

*  Doaor  in  mufyke,  and  one  of  the  Gentylmen  of  hys  graces  mofte  ho- 
i  nourable  Chappell,  wyth  notes  to  eche  Chapter,  to  fyngeand  alfoto 

*  play  upon  the  Lute,  very  neceffarye  for  fludentes  after  theyr  ftudye,. 
<  to  fyle  theyr  wyttes,  and  alfoe  for  all  Chriaians  that  cannot  fynge  to 

*  reade  the  good  and  Godlye  ftoryes  of  the  Hues  of  Chrift  hys  Apoftles.' 

The  dedication  is  *  To  the  vertuous  and  godlye  learned  prynce  Ed- 
*warde  the  VIZ  and  is  in  ftanzas  of  alternate  metre,  of  which  the 
following  may  ferve  as  a  fpecimen. 

*         *         *         *  *         *         * 

'^  iout  0mcc  map  note  fro  tpmc  to  rpu>c 

*  €8at  fomc  ijotlj  unticrtafee 
^  H3?on  t^t  J^faKmc^  to  tucite  in  rpme, 
'  €8c  tjccfe  3?kafaunt  to  make. 

ping  the  royal  children  by  proxy  had  probably  its  rife  In  the  education  of  prince  Edward,, 
and  may  be  traced  down  to  the  time  when  Charles  the  Firft  was  prince.  As  to  Browne,, 
it  do96  not  appear  who  he  was,  or  what  became  of  him  after  he  arrived  to  a  ftate  of  man- 
hood. But  bilhop  Burnet,  in  his  Hiftory  of  the  Reformation,  part  II.  pag.  225,  fpeaks 
of  another  who  had  been  play-fellow  and  whipping-boy  to  prince  Edward,  namely,  Bar- 
naby  Fitzpatrick,  a  very  ingenuous  and  accomplifhed  youth,  who  became  the  founder  of 
a  noble  family  of  that  name  in  Ireland.  He  is  frequently  mentioned  in  the  journal  of 
king  Edward  VI.  by  the  name  of  Mr.  Barnaby  ;  and  in  Fuller's  Worthies,  Middlefex,  pag. 
179,  are  feveral  letters  from  the  king  to  him  when  upon  his  travels,  containing  diredions 
for  his  condua,  and  many  expreffions  of  affedion  and  concern  for  his  welfare.  Burnet, 
in  his  account  of  Mr.  Murray  of  the  bed-chamber,  Hift.  of  his  own  Times,  vol.  I.  pag. 
244,  fays  he  was  whipping-boy  to  king  Charles  I.  In  the  Speftator,  No.  313,  is  a  ftory 
fomewhat  to  this  purpofe  of  Mr.  Wake,  father  tcrthe  archbifliop  of  that  name.  A  fchool- 
fellow  of  his,  whom  he  loved,  had  committed  a  fault,  which  Wake  took  upon  himfelf,  and 
was  whipped  for  at  Weftminfter  fchooi.  Mr.  Wake  was  a  cavalier,  and  had  borne  arms 
under  Penruddockand  Grove  in  the  Weft,  and  being  taken  prifoner,  was  indiaed  for  high- 
treafon  againft  the  common-wealth,  at  Exeter,  and  after  a  ftiort  trial  conviaed.  It  hap- 
pened that  the  judge  of  affize  who  prefided  in  court  was  the  very  perfon  for  whom  Mr.  Wake 
had  been  whipt  when  a  fchooi -boy,  and  recoUeaing  his  name  and  face,  he  aficed  him  fome 
queftions,  the  anfwers  to  which  convinced  him  that  he  was  about  to  pafs  fentence  on  one 
to  whom  he  was  indebted  for  a  very  fingular  inftance  of  friendftiip,  the  refleaion  on  which 
infpired  him  with  fuch  a  fenfe  of  gratitude,  that  he  rode  immediately  to  London,  and  by 
his  intereft  with-ihe  proteaor  procured  his  pardon.  It  is  to  Dr.  Grey's  edition  of  Hudi- 
bras,  vol.  I.  pag.  392,  in  not.  that  we  are  indebted  for  the  name  of  the  gentleman  ;  and- 
as  Pcnruddock  in  the  courfe  of  the  trial  takee  occafion  to  mention  that  he  fees  judge  Ni- 
eholasupon  the  bench,  there  is  very  little  doubt  but  that  he  was  the  judge  to  whom  the 
ftory,  refers.    Seethe  State.Trials,  vol.  II.  pag- 260. 

Kk2  3llu^ 


^54  HISTORY    OF    THE    SCIENCE     Book  II. 

*  '^n^  feme  botD  take  in  f^an^c  to  lurptc 

*  (But  of  t^c  So0fee  of  M^im^  *, 

*  •Dfcaufc  tfjqi  fc  pour  grace  M^tt 

'  3i'n  fiiclic  lil^e  gotslpc  tfipngc^. 

'  ^nb  faHf  cf  aH,  5|  poiirc  jroore  man 

*  IDflofe  t!oingc>sf  are  full  i&afe, 
'  %ftt  Q\ah  fo  t!o  t!jc  "bttf  3[  can, 

'  'Co  0CUC  unro  pour  grace, 

*  l^aiie  tfjougfjt  it  goob  notde  to  recptc 

'  €^e  fioric^  cf  tf^t  actc^  ; 

*  «i:uf n  0f  t|ic  tltjelue,  a^  %iiht  botg  lurpte, 

*  a!)f  aU  tfieir  itjortljp  factcif. 
****** 
'  ^nto  tlje  ttxt  3[  tio  not  ab, 

*  l^or  notfjpnge  talfte  aitjape ; 

*  3Ctiti  tiion^l)  nip  Ilfple  t^e  grolte  anb  iDati, 

*  €Sc  triitJj  percepue  pou  mape* 

'*  Thomas  Sternhold  was  the  firft  that  attempted  a  verfion  of  the  Pfalms  in  EngHfn. 
He  did  to  the  number  of  about  forty  of  them :  the  reft  in  the  printed  colleaion  ufed  in 
churches  were  afterwards  tranflated  by  John  Hopkins,  William  Whittingham,  Thomas  Nor- 
ton, and  others.  Sternhold's  verfion  was  firft  publiftied  in  the  year  1549. 

In  the  fame  year  was  publiflied  a  verfion  of  the  Penitential  Pfalms  by  Sir  Thomas  Wyat, 
and  in  the  year  after  '  Certayne  Pfalmes  chofen  out  of  the  Pfalter  of  Dauid,  and  drawen 

*  furth  intoEngiyfli  meter  by  William  Hunnis,  feruantto  the  ryght  honorable  Sir  William 
Harberde,  knight.'  This  William  Hunnis  was  a  gentleman  of  the  chapel  temp.  Ed- 
ward VI.  and  upon  the  death  of  Richard  Edwards,  in  1566,  was  appointed  mafter  of  the 
children.  He  died  June  6,  1597,  and  was  fucccedcd  by  Nathaniel,  afterwards  Dr.  Giles. 
Cheque-book  of  the  royal  chapel.     Farther  mention  of  him  will  be  made  hereafter. 

In  the  year  laft  above-mentioned,  viz.   1550,  were  alfo  publiflied  «  Ccrtayn  chapters 

*  taken  out  of  the  prouerbes  of  Salomon,  with  other  chapters  of  the  holy  fcripture,  and 
»  certayne  Pfalmes  of  Dauid,  tranflated  into.Englifti  metre  by  John  Hall.     Whych  Pro- 
uerbes  of  late  were  fct  forth,  imprinted,  and  untruely  entitled  to   be  the  doynges  of 
Mayfter   Thomas  Sternhold,  late  grome  of  the  kynge's  maieftes  robes,  as  by  thys  copye 

*  it  may  be  perceaued,  MDL.'  The  chapters  above-mentioned  are  the  lixth  of  the 
book  of  Wifdom  called  Sapientia  ;  the  ninth  of  Ecclefiafticus,  and  the  third  of  the  fecond 
epiftle  of  St.  Paul  to  the  1  heflalonians :  the  Pfalms  are  Pfalm  ixi.  xxiii.  liii.  Ixiiii.  cxi. 
cxii.  cxiii.  and  cxiiiii. 

The  whole  Pialter  was  tranflated  into  Englifh  metre  by  Dr.  Matthew  Parker,  afterwards 
archbiihop  of  Canterbury,  and  printed  by  John  Day  about  the  year  1560.  The  book  is 
very  httle  known,  and  is  fuppofed  to  have  been  printed  only  for  prefents.  An  account 
of  it  will  be  given  hereafter. 

The  paflage  to  which  this  note  refers  has  a  plain  allufion  to  thefc  parts  of  fcripture  thus 
rendered  into  metre,  and  to  a  verfion  of  part  of  the  book  of  Kings,  which  has  efcaped  a 
diligent  enquiry.  In  profecuiion  of  this  defign  of  turning  fele6l  portions  of  fcripture  for 
thepurpofe  of  finging  them  in  churches,  Dr.  Tye  verfified  fome  chapters  of  the  Ads  of 
the  Apoftles,  and  fetthemto  mufical  notes  as  above  is  related. 


Chap.  8;     AND    PRACTICE    OF    MUSIC.  255 

^  3nti  pf  pout  gtatc  (6aU  in  ffoot»  parte 

*  O^p  fpmplc  tfiorftc  fo  tafte 

^  0^p  tDpttCjS?  to  tfii^  31  tojll  conuatt 

*  m\  tjapnc  tftpngcief  to  forCafec. 

*  <3l9p  ca!lpiig0  ijE?  another  toape, 

'  four  grace  (gall  fjcrcin  fpntic, 

*  2£>p  notc^  fct  fortijc  to  fpngc  or  plapr, 

*  Co  recreate  tge  mpitbe. 

*  ^nt  tfiougf)  tl^ep  Be  not  curious, 

*  55utfor  tj)e  letter  mete, 

*  f  e  ff)a!l  ttiem  fpntie  iiarmonioui^, 

'  3llnti  che  pleafaunt  anti  Vmttc. 

'  €fiat  fuclf)  goon  tgitige^  pour  grace  migfit  mow 

*  four  lute  iDlicn  pe  alTape, 

*  3innretje  of  fongejsi  of  toanton  loue 

'  CfjeCe  fioriejsf  tgen  to  plape*. 

*  ^0  ffjall  pour  grace  pleafe  *0oti  tfte  Sortie, 

'  5(n  ioalftpnge  in  jfti^e?  toape, 

*  ^i^  latDe^  anti  flatute^sf  to  recortie 

*  5jn  pour  fjcart  npgljt  anti  tiape* 

*  511nti  ehe  pour  realmc  (t)all  fforif^  HplI, 

'  ^0  gooti  tljpnge  tgall  Decape : 

*  four  fubtectcjer  (tjall  toit!)  cigf)t  gooti  topll 

*  €fjefe  tuortie^  recortie  anb  fape, 

"  €l|p  Ipfc  <D  fepnge  to  u^  tiotl)  ftipne 

**  3ilj^  4Boti^  Iiofee  totg  tliee  tcacfje  : 
"  (^Ijou  tioft  u^  febe  toitli  fuel)  tioctrine 

*'  5il^  Cljrilie^  elect  tipti  preaclie. 

«        »         *         ■*        *         *        ■* 

Here  follow  the  two  initial  ftanzas  of  the  fourteenth  chapter  of  the 

verfion  of  the  Adts  of  the  Apoftles,  with  the  mufic  by  Dr.  Tye.      In 

the  original  the  author  has  given  the   mufic   in   feparate  parts,  but" 

here  it  is  in  fcore. 

*  This  (lanza,  were  other  evidence  wanting,  would  be  a  proof  that  the  king  played  on 
the  lute. 

K  k  3 


256  HISTORY   OF    THE    SCIENCE      Book  31 


i^^ 


IT 


jHIMj^Q    '] 


IT 


:''■  <i'°  ^  1 


^ 


channced    in       I 


-I — h 


I 


f 


IT  chaunced    in     I  -   co    -      - 


^ 


e — e^ 


channced    in       I- 


^m 


-co 


ni 


m 


-     ^  ni    —    um 


S= 


.  ^^^ 

-CO   _    ni   —  um 


i 


IT  chaanced    in     I  -.   co  -  ni-.   um 


as 


^ Q 


S 


i 


i h 


as 


they  oft  tymes  dyd 


u£e 


To 


-     q       "   • 


^^ 


^ 


432: 


a»    they     oft 


tymes    dyd      ufe 


To  -   ge  -  ther 


^ 


•sT-q 


? 


^^ 


33: 


as    they     oft 


tymes    dyd      ufe 


To  ^  ge  -  ther 


Q  .    P 


^^ 


n 


they  oft   tymes    dyd      ufe 


To-ge-ther      they    in   - 


5 


q       q 


q     ^f.l      q  a 


€1 -O 


g      ^zszuoL 


je  -  ther    they    in- 


^to     dyd      cum  the 


Si  -  na  -goge      of 


11''  'I   'M   1 


i 


^ 


y  '^p  i 


^ 


they      in -to       dyd 


cum   the       Si-  na- 


goge     of  Jugs  where 


i 


i 


i 


^ 


they     in-  to      dyd 


cum 


the 


Si  -  na  -  goge     of 


^ 


i 


xz 


^ 


^ 


-  ro      dyd  cum. 


the       Si-  na  -  goge     of         Jues 


CJiiip.S.      AND_fB^CTICE    OF    MUSIC.  2J7 


iS 


I  I  I  I.  I 


Jues  where  they  dyd  preache  and    one 


ih"  r  1'  r 


X         they  dyd  preache       ^ 


Jues 


where 


m 


-1 


I 


^m 


TT^n-tit 


^       ^      -  lye  f  eke  Gods 


and    one   ^      — 


'iJJ  fl  ^  q   J  c)  = 


^ 


they  dyd  preache 


-.  lye  fekeGod*  grace  then 

.1 .1 7  j| 


and  ohelyeieltfGods 


« 


where    they      dyd         preache    and       onelyefeke Gods  grace 


n*acetncn 


i 


^ 


grace  then     to    at  - 


E 


cheve   That  theyloipake 


to    atcheve    That 


i 


grace  then    to  at  - 


^ 


:*: 


^ 


they  fb  ipake  to 


-  cheve 


That 


^ 


to  Jue    an 


^  Ix'l     J      1  ^= 


Jue  andGreke    That 


J  'I  1    1  i 


they  lb    (pake     to 


^ 


Grek.e  That  manye 
33 


^ 


manye     dyd       be- 


m 


k 


w 


Jixe       and  Greke 

q 


1  rr  t  ^''  1 


manye  dyd    be 


_      Q 


leve  that  manye  chrd    be— leve  be 


^ 


That  manye 


^^ 


djd  beleve     be 


-leve 


-  leve 


Grekc  That  manye  dyd    be  -  leve   .  be  -  leVe 

DOCTOR  CHRISTOFHBR    TYE 


258  HISTORY    OF    THE    SCIENCE       Book  IK 

The  A6ls  of  the  Apoflles  kt  to  mufic  by  Dr.  Tye,  were  fung  in' 
the  chapel  of  Edward  VI.  and  probably  in  other  places  where  choral^ 
fervice  was  performed  ;  but  the  fuccefs  of  them  not  anfwering  the 
expedation  of  their  author,  he  applied  himfclf  to  another  kind  of 
ftudy,  the  compofing  of  mufic  to  words  feleded  from  the  Pfalms  of 
David,  in  four,  five,  and  more  parts  ;  to  which  fpecies  of  harmony^ 
for  want  of  a  better,  the  name  of  Anthem,  a  corruption  of  Antiphon,. 
was  given. 

In  Dr.  Boyce's  colledlon  of  cathedral  mufic,  lately  publirhedj, 
vol.  11.  is  an  anthem  of  this  great  mufician,  *  I  will  exalt  thee/  a  moft 
perfedt  model  for  compofition  in  the  church  ftyle,  whether  we  regard 
the  melody  or  the  harmony,  the  expreflion  or  the  contrivance,  or^. 
in  a  word,  the  general  effed  of  the  whole. 

In  the  Afhmolean  MS.  fol.  1 89,.  is  the  following  note  in  the  hand« 
writing  of  Antony  Wood  :  *  Dr.  Tye  was  a  peevifh  and  humourfome 

*  man,  efpecially  in  his  latter  days,  and  fometimes  playing  on  the 

*  organ  in  the  chapel  of  Qu.  Eliz.  which  contained  much  mufic^, 

*  but  little  delight  to  the  ear,  fhe  would  fend  the  verger  to  tell  hitn. 

*  that  he  played  out  of  tune,  whereupon  he  fent  word  that  her  ear& 

*  were  out  of  tune.'  The  fame  author  adds  that  Dr.  Tye  reftored 
church-mufic  after  it  had  been  almoft  ruined  by  the  difTolution  of 
abbies.     Ibid.  * 

Thomas  Tallis,  one  of  the  greatefl:  muficians  that  this  country 
ever  bred,  flouriflied  about  the  middle  of  the  fixteenth  century.  He- 
is  faid  to  have  been  organift  of  the  royal  chapel  to  king  Henry  VIII. 
kino-  Edward  VI.  queen  Mary,  and  queen  Elizabeth ;  but  the  infcrip- 
tion  on  his  gravc-ftone  warrants  no  fuch  afi"ertion  3  and  it  is  cer- 
tain that  in  the  reigns  of  Edward  VI.  and  queen  Mary  he  was  fimply 
a  gentleman  of  the  chapel,  and  ferved  for  feven  pence  halfpenny  per 
diem  :  under  Elisabeth  he  and  Bird  were  gentlemen  of  the  chapel 
and  organifts. 

The  fludies  of  Tallis  feem  to  have  been  wholly  devoted  to   the: 
fervice  of  the  church,  for  his  name  is  not  to  be  found  to  any  mufical 

*  This  manufcript,  containing  brief  notes  and  memoirs  of  famous  muficians,  is  in  the 
hand- writing  of  Antony  Wood.  In  the  Catalogue  of  the  Manufcripts  in  the  AOimolean. 
Mufeum,  publifhed  by  Mr.  Huddesford  in   1761,  it  is  thus  numbered  and  defcribed  : 

*  8568.  106.  Some  materials  toward  a  hiftory  of  the  lives  and  compofitions  of  all  Englifh 
«  muficians  i  drawn  up  according  to  alphabetical  order  ia  210  pges  by  A.  W.' 

com- 


Chap.  8.       AND    PRACTICE    OF    MUSIC.  259 

compofitions  of  fongs,  ballads,  madrigals,  or  any  of  thofe  lighter 
kinds  of  mufic  framed  with  a  view  to  private  recreation.  Of  the 
many  difciples  who  had  profited  by  his  inftrudion.  Bird  feems  to 
have  pofTefTed  the  greatefl:  fliare  of  his  affedlion,  one  proof  whereof 
was  a  joint  publication  by  them  both  of  one  of  the  nobleft  collecflions 
of  hymns  and  other  compofitions  for  the  fervice  of  the  church  that 
ever  appeared  in  any  age  or  country. 

The  work  above  alluded  to  was  printed  by  Vautrollier  in  1575, 
with  the  title  of  *  Cantiones  quae  ab  argumento  facrse  vocantur  quin- 

*  que  et  fex  partium,  Autoribus  Thoma  Tallifio  &  Guilielmo  Birdo, 

*  Anglis,  fereniffimas  regines  majeftati  a  priuato  facello  generofis   et 

*  Organiftis.* 

This  work  was  publifhed  under  the  protedllon  of  a  patent  of  queen 
Eliz^abeth,  the  firft  of  the  kind  that  had  ever  been  granted  ;  and  as 
the  privileges  contained  in  it  are  very  fingular,  and  ferve  to  fhew  what 
a  {hare  of  royal  favour  they  poflefTed,  the  fubflance  thereof,  as  print- 
ed at  the  end  of  the  book,  is  here  inferted. 

*  The  extract  and  effed:  of  the  quenes  malefties  letters  patents  to 

*  Thomas  Tallis  and  William  Birde,  for  the  printing  of  muficke. 

*  Elizabeth  by  the  grace  of  God  queue  of  Englande,  Fraunce,  and 
Irelande,  defender  of  the  faith,  &c.  To  all  printers,  bokefellers,  and 
other  ofiicers,  minifters,  and  fubjeds  greting.  Know  ye,  that  we 
for  the  efpeciall  affedion  and  good  wil  that  we  haue  and  beare  to 
the  fcience  of  muficke,  and  for  the  aduauncement  thereof,  by  our 
letters  patents  dated  the  xxii.  of  lanuary  in  the  xvii.  yere  of  our 
raigne,  haue  graunted  full  priuiledge  and  licence  vnto  our  welbe- 
loued  feruants  Thomas  Tallis  and  William  Birde  Gent,  of  our 
chappell,  and  to  the  ouerlyuer  of  them,  &  to  the  afilgnes  of  them,, 
and  of  the  furuiuer  of  them,  for  xxi.  yeares  next  enfuing,  to  im- 
print any  and  fo  many  as  they  will  of  fet  fonge  or  fonges  in  partes,, 
either  EngliQi,  Latine,  French,  Italian,  or  other  tongues  that  may 
ferue  for  muficke  either  in  churche  or  chamber,  or  otherwife  to  be 
either  plaid  or  foonge.  And  that  they  may  rule  and  caufe  to  be  ruled, 
by  impreffion  any  paper  to  ferue  for  printing  or  pricking  of  any 
fonge  or  fonges,  and  may  fell  and  vtter  any  printed  bokes  or  papers 
of  any  fonge  or  fonges,  or  any  bookes  or  quieres  of  fuch  ruled  paper,, 
imprinted,  Alfo  we  ftraightly  by  the  fame  forbid  all  printers,  booke- 
felleis,  fubiec^s  &  ftrangcrs,  other  then  as  is  aforefaid,  to  do  any 

'  ths: 


i6o  HISTORY   OF   THE   SCIENCE      Book!!. 

*  the  premlffes,  or  to  bring  or  caufe  to  be  brought  out  of  any  forren 

*  reahnes  into  any  our  dominions,  any   fonge    or  fonges   made  and 

*  printed  in  any  forren  countrie,  to  fell  or  put  to  fale,  vppon  paine  of 
■*  our  high  difpleafure,  And  the  offender  in  any  of  the  premilTes  for 
«  euery  time   to  forfet  to  vs  our  heires  and  fuccefTors  fortie  flilllings, 

*  and  to  the  faid  Thomas  Tallis  &  William  Birde,  or  to  their  affignes, 
•«  &  to  the  affignes  of  the  furuiuer  of  the,  all  &  euery  the  faid 
«  bokes,  papers,  fonge  or  fonges.  We  haue  alfo  by  the  fame  willed  & 
«  commaunded  our  printers,  maifters  &  wardens  of  the  mifterie  of 
«  ftacioners,  to  affift  the  faide  Thomas  Tallis  and  Wijliam  Birde  & 

*  their  affignes  for  the  dewe  executing  of  the  premiffi^s  *.' 

Ames,  in  his  Typographical  Antiquities,  pag.  353,  takes  notice 
that  the  dedication  of  this  book  to  queen  Elizabeth  is  very  remarkable; 
he  does  not  fay  for  what,  but  it  is  obvious  that  he  means  for  its  com- 
pofition  and  ftyle,  v«^hich  is  moft  pure  and  elegant  Latin.  The  epiflle 
dedicatory  it  is  more  than  probable  was  wrote  by  Richard  Mulcafter, 
the  mafler  of  Merchant  Taylor's  fchool,  an  excellent  grammarian,  and 
a  man  of  the  firft  degree  of  eminence  in  his  profeffion.  There  are  pre- 
fixed to  the  book  fome  Latin  commendatory  verfes,  with  his  name 
to  them,  in  which  is  the  following  compliment  to  queen  Elizabeth 
upon  her  fkill  in  mufic. 

*  Regia  majeflas,  atatis  gloria  noftras  j 

*  Hanc  in  deliciis  femper  habere  folet, 

*  Nee  contenta  graves  aliorum  audire  labores 

*  Ipfa  etiam  egregie  voce  manuque  canit.* 

In  this  work   is  contained  that   admirable  compofition  of  Tallis, 

*  O  facrum  convivium,'  better  known  to  the  world  indeed  by  the 
initial  words  *  I  call  and  cry,*  which,  with  the  whole  of  that  an- 
them were  adapted  to  the  notes  of  *  O  facrum  convivium'  by  Dean 
Aldrich.  Charles  Butler,  of  Oxford,  a  man  of  great  learning,  and 
known  to  the  world  by  his  attempts  to  reform  the  English  ortho- 
graphy, commends  *  Abfterge  Domine,'  the  fecond  of  the  Cantiones 
SacriY  cf  Tallis,  in  the  higheil  terms,  and  makes  ufe  of  the  authority 
of  it  for  feveral  purpofes. 

*  The  power  of  the  crown  to  grant  fuch  privileges  as  are  contained  in  this  and  other  pa- 
tents of  the  tike  kind,  is  exprefsly  denied  by  Sir  Jofeph  Yates,  in  his  argument  in  the  great 
cafe  of  literary  property,  Miliar  v.  Taylor,  where  freaking  of  the  patent  of  Tallis  and  Bird, 
and  alfo  or  that  granted  to  Morley,  he  fays  they  are  arbitrary,  grofs,  and  abfurd.  Queftion 
concerning  literary  property,  pubiifhed  by  Sir  James  Burrow,  410.  I773>  pag*  85. 


Chap.  8.       AND    PRACTICE    OF    MUSIC.  z6i 

It  is  commonly  faid  that  TalHs  was  organift  to  Henry  VIII.  and 
the  three  fucceeding  princes  his  defcendants  j  but  it  may  well  bfi 
doubted  whether  any  eftablifhment  of  the  kind  was  known  till 
the  beginning  of  the  reign  of  queen  Elizabeth,  when  Tallis  and 
Bird  were  feverally  appointed  organifts  of  the  royal  chapel.  And 
here  it  may  be  neceffary  to  mention,  as  has  been  hinted  before, 
that  the  ancient  foundations  of  conventual,  cathedral,  and  collegiate 
churches  in  this  kingdom,  although  lefs  ancient  than  the  introduc- 
tion of  organs  into  the  church  fervice,  take  not  the  lead  notice  of 
fuch  an  officer  as  the  organift,  but  are  endowments  uniformly  in 
favour  of  canons,  the  greater  and  the  lefs,  lay  vicars  or  clerks, 
and  chorifiers.  Nay  farther,  no  provifion  for  an  organifl  appears 
either  in  the  lift  of  the  choral  eftablilhment  of  Edward  VI.  or 
in  that  of  queen  Mary,  though  in  both  trumpeters  and  players  on 
the  facbut  occur.  Hence  it  may  fairly  be  prefumed,  and  Dr.  Ben- 
iamin  Rogers  was  of  that  opinion,  that  anciently  the  duty  of  the  or- 
ganift, as  well  in  cathedral  and  collegiate  churches  and  chapels,  as  in 
abbies,  monafteries,  and  other  religious  houfes,  was  performed  by 
fome  one  or  other  of  the  vicars  choral,  or  other  members  of  the  choir  *j 
an  evident  proof  of  the  flouriihing  ftate  of  mufjc  among  us  in  thofe 
early  times.  In  this  view,  and  this  only,  can  Tallis  be  confidered  a» 
organift  to  Henry  VIII.  Edward  VI.  and  queen  Mary. 

Notwithftanding  that  he  was  a  diligent  colledor  of  mufical  antiqui- 
ties, and  a  careful  perufer  of  the  works  of  other  men,  the  compofitions 
of  Tallis,  learned  and  elegant  as  they  are,  are  To  truly  original,  that  he 
may  juftly  be  faid  to  be  the  father  of  the  cathedral  ftyle  ;  and  though 
a  like  appellation  is  given  by  the  Italians  to  Paleftrina,  it  is  much  to 
be  queftioned,  confidering  the  time  when  Tallis  fiouriOied,  whether 
h€  could  derive  the  leaft  advantage  from  the  improvements  of  that 
great  man.  It  may  therefore  be  conjedlured  that  he  laid  the  founda- 
tion of  his  ftudies  in  the  works  of  the  old  cathedralifts  of  this  king* 

*  In  theftatutesofSt.  Paul's  cathedral,  tit.  de  Gartionibus  [i:  e.  of  the  grooms,  from 
'GAkcio,a  poor  fer^'ile  lad,  or  boy-fervant.  Cowf.i,.]  it  is  faid  that  the  duty  of  thcfe  fer- 
vants  is,  '  exculpent  ecclefiam,  campanas  pulfont  exfufflent  oigana,  &  omne  ahud  humilc 
«  officium  exerceant  iri  ccclefia  ad  imperium  virgiferoium  ;'  but  though  provifion  is  thus 
made  for  blowing  the  organ,  the  ftatutcs  are  filent  as  to  who  is  to  play  it.  For  fome  years 
paft  there  has  been  an  organifl  of  St.  Paul's,  with  a  falary,  which  upon  the  appointment 
of  Dr.  Greene  was  augmented  with  the  revenue  of  a  lay  vicar's  place. 

Vol.  III.  El  dom. 


£62  HISTORY   OF   THE   SCIENCE      Book  11. 

dom,  and  probably  in  thofe  of  the  German  muficians,  who  in  his 
time  had  the  pre-eminence  of  the  Italians  ;  and  that  he  had  an  emu- 
lation to  excel  even  thefe,  may  be  prefumed  from  the  following  par- 
ticular. Johannes  Okenheim,  a  native  of  the  Low  Countries,  and 
a  difciple  of  lodocus  Pratenfis,  had  made  a  campofition  for  no  fewer 
than  thirty-lix"  voices,  which  Glareanus  fays  was  greatly  admired. 
Tallis  compofed  a  motet  in  forty  parts,  the  hiftory  of  which  ftupen- 
dous  compofition,  as  far  as  it  can  now  be  traced,  is  as  follows. 

It  was  originally  compofed,  in  the  reign  of  queen  Elizabeth,  to  the 
following  words,  *  Spem  in  alium  nunquam  habui  prseter  in  te  Deus 

*  Ifrael,  qui  irafceris,  et  propitius  eris,  et  omnia  peccata  hominum,, 

*  in  tribulatione  dimittis,  Domine  Deus,  creator  coeli  et  terra?,  refpicc 

*  humilitatem  noftram.'     In  the  reign  of  the  firft  or  fecond  Charles 
fome  perfou  put  to  it  certain  Englifli  words,  which  are  neither  verfe 
nor  profe,  nor  even  common  fenfe  j  and   it  was   probably  fung  on 
fome  public  occafion ;  but   the  compofition   with    the  Latin   \vords 
coming  to  the  hands  of  Mr.  Hawkins,  formerly  organift  of  the  cathe- 
dral church  of  Ely,    he  prefentcd   it    to  Edward    earl   of  Oxford. 
Diligent   fearch  has  been  made  for  it  among  the  Harleian  manu- 
fcripts  in  the  Britifli    Mufeum,    but   without   efFedt.       As   to  the 
mufic,  it    is    adapted    to    voices   of   five   different    kinds,    that    is,- 
tenor,  counter-tenor,  altus,  or    mean,  and    treble,  eight    of  each  ;-• 
and  though  every  mufician  knows  that,    in  fi:ri6lnefs  of  fpeech,  in  a 
mufical  compofition  there  can  in  reality  be  but  four  parts,  for  vvherc^ 
there  are  more,  fome  muft  reft  while  others  fing;  yet  this  of  TalliS' 
is  fo  contrived,   that  the  melody  of  the  four  parts  is  fo  broken  and: 
divided  as  to  produce  the  efFed:  of  as  many  parts  as  there  are  voices- 
required  to  fing  it. 

it  is  fomewhat  difficult  to  account  for  the  publication  of  the  Can- 
tiones  Sacrae  in  the  original  Latin  words  at  a  time  when  it  is  well 
known  that  our  liturgy  was  completely  fettled,  and  the  whole  of  the 
church  fervice  was  by  law  required  to  be  performed  in  the  Englidi 
tongue.  It  is  true  that  the  firft  adl  of  uniformity  of  Edward  VI.  al- 
lowed great  latitude  in  finging,  and  left  it  in  a  great  meafure  in  the 
difcretion  of  the  clergy  either  to  adopt  the  metrical  pfalmody  of  the 
Calvinifts,  or  to  perfcvere  in  the  ufe  of  the  folemn  choral  fervice  ; 
and  accordingly  we  fee  them  both  pradifed  at  this  day  -,  but  that  the 
finging  of  anthems  and  hymns  in  the  Latin  tongue  was  permitted  un- 
der the  fandtion  of  this  licence  there  is  no  authority  for  faying  j  and 

indeed 


Chap.  8.      AND    PRACTICE    OF    MUSIC.  263 

indeed  the  original  compofition  of  mufic  to  the  Latin  fervice  by  TalHs 
and  Bird,  is  not  to  be  accounted  for  but  upon  a  fuppofition,  which 
there  is  nothing  to  contradid-,  that  they  were  of  the  Romi(h  perfua- 
iion,  and  that  the  Cantiones  Sacrce  vverecompofed  for  the  ufe  of  queen 
A'Jary's  chapel  :  with  refpedt  to  TalUs,  it  may  be  obferved  that  his 
name  occurs  in  a  lift  of  her  eftabliflimcnt  yet  exant  j  and  as  to  Bird, 
that  befides  his  (hare  in  the  above  work,  there  are  feveral  mafl'es  of 
his  compofition  in  print,  which  favour  the  opinion  that  he  was  once 
of  the  fame  communion. 

But  notwithftanding  his  fuppofed  attachment  to  the  Romi(h  reli- 
gion, it  feems  that  Tallis  accommodated  himfelf  and  his  ftudies  to 
thofe  alterations  in  the  form  of  public  v/orfliip  which  fucceeded  the 
acceffion  of  queen  Elizabeth.  With  this  view  he  fet  to  mufic  thofe 
feveral  parts  of  the  Englifli  liturgy,  which  at  that  time  were  deemed 
the  moft  proper  to  be  fung,  namely,  the  two  morning  fervices,  the 
one  comprehending  the  Venite  exultemus,  Te  Deum,  and  Benedic- 
tus  ;  and  the  other,  which  is  part  of  the  Communion  office,  confiil:- 
ing  of  the  Kyrie  Eleifon,  Nicene  Creed,  and  Sandus ;  as  alfo  the 
evening  fervice,  containing  the  Magnificat  and  Nunc  dimittis  .;  all 
thefe  are  comprehended  in  that  which  is  called  Tallis's  firft  fervice,  as 
being  the  firft  of  two  compofed  by  him  ^^  He  alfo  fet  mufical 
Notes  to  the  Preces  and  Refponfes,  and  compofed  that  litany,  which, 
for  its  excellence,  is  fung  on  folem.n  occafions,  in  all  places  where 
the  choral  fervice  is  performed. 

As  to  the  Preces  of  Tallis  in  his  firft  fervice,  they  are  no  other  than 
thofe  of  Marbeck  in  his  book  of  Common  Prayer  noted  :  the  refponfes 
are  fomewhat  different,  that  is  to  fay,  in  the  tenor  part,  Vv'hich  is 
fuppofed  to  contain  the  melody  -,  but  Tallis  has  improved  them  by 
the  addition  of  three  parts,  and  thereby  formed  a  judicious  contrail: 
between  the  fupplications  of  the  prieft  and  the  fuffrages  of  the  people 
as  reprefented  by  the  choir. 

The  fervices  of  Tallis  contain  alfo  chants  for  the  Venite  exul- 
temus and  the  Creed  of  St.  Athanalius  ;  thefe   are   tunes    that    di- 

*  It  may  be  remarked  tfiat  neither  the  pfalms,  Jubilate  Deo  in  the  morning,  nor  Can- 
tate  Domino  and  Deus  mifercatur  in  the  evening  prayer,  occur  in  this  fervice  of  Tallis; 
the  reafon  is,  that  in  the  firll  fettlement  of  the  choral  fervice  they  were  not  included,  the 
moll  ancient  Jubilate  being  that  of  Dr.  Giles,  and  the  mofl  ancient  Deus  niifcreatur  that 
ol  Mr.  Strogers,  both  printed  in  Barnard's  Colleftion,  hereafter  mentioned.  When  the 
Cantate  Domine  was  firft  taken  in  appears  not. 

L  1  2  vide 


264 


HISTORY    OF    THE    SCIENCE       Book  II. 


vide  €ach  verfe  of  the  pfalm  or  hymn  according  to  the  pointing,  to  the 
end  that  the  whole  may  be  fung  alternately  by  the  choir,  as  diftin- 
guifhed  by  the  two  fides  of  the  dean  and  the  chanter.  Two  of  thefe 
chants  are  publifhed  in  Dr.  Boyce's  cathedral  mufic,  vol.  I.  * 

*  This  method  of  finging,  though  It  correfponds  with  that  antiphonal  finging  which  was 
introduced  into  the  church  about  the  year  350,  by  Flavianus  and  Diodorus,  the  one  bi-. 
fhop  of  Antioch,  the  other  of  Tarfus,  and  is  in  truth  that  part  of  choral  fervice  which  is 
bed  warranted  by  the  pra£lice  of  the  primitive  Chriftians,  and  the  judgment  of  the  fa- 
thers, is  that  which  the  Puritans  mean  when  they  inveigh  againft  the  practice  of  *  tolling 

*  the  Pfalms  about  like  tennis-balls  j'  their  fentiments  are  contained  in  that  virulent  libel, 
the  firft  of  thofe  two  Admonitions  to  the  Parliament,  the  one  written  by  Field,  mi- 
nifter  of  Aldermary,  London,  the  other  by  Thomas  Cartwright,  printed  in  the  year 
1572,  wherein  is  the  following  bitter  invedlive  againft  the  form  of  divine  worfhip  as 
then  lately  eftablifhed.     *  In  all  theyr  order  of  feruice  there  is  no  edification  according 

*  to  the  rule  of  the  Apoftle  but  confufion:  they  tofle  the  Pfalmes  in  moft  places  like  ten- 
'  nice-balles.     They  pray  that  al  men  maybe  laued,  and  that  they  maybe  deliuered  from 

*  thundering  and  tempeft,  when  no  danger  is  nigh.  That  they  fing  Benedi£lus,  Nunc 
'  Dimittis,  and  Magnificat,  we  know  not  to  what  purpofe,  except  fome  of  them  were 

*  ready  to  die,  or  except  they  would  celebrate  the  memory  of  the  Virgine  and  John  Bap- 
'  tift,  &c.     Thus  they  prophane  the  holy  fcriptures.     The  people,  fome  ftanding,  fome 

*  walking,  fome  talking,  fome  reading,  fome  praying  by  themfelves,  attend   not  to  the 

*  minifter.     He  againc  pofteth  it  oucr  as  faft  as  he  can  galloppe  ;  for  eyther  he  hath  two 

*  places  toferue,  or  elfe  there  are  fome  games  to  be  playde  in  the  afternoone,  as  lying  for 

*  the  whetftone^  heathenifhe  dauncing  for  the  ring,  a  beare  or  a  bull  to  be  baited,  or  elfe 
'  jackanapes  to  ride  on  horfebacke,  or  an  interlude  to  be  plaide  j  and  if  no  place  eife  can 
'  be  gotten,  this  enterlude  muft  be  playde  in  the  church,  Sec.     Now  the  people  fit,  and 

*  now  they  ftand  up.     When  the  Old  Teftament  is  read,  or  the  lefibns,  they  make  no 

*  reuerence,  but  when  the  Gofpel  commeth  then  they  al  ftand  up,  for  why,  they  thinke 

*  that  to  be  of  greateft  authoritie,  and  are  ignorante  that  the  Scriptures  came  from  one 

*  fpirite.     When  Jefus  is  named,  then   of  goeth  the  cap,  and   downe  goeth   the  knees, 

*  wyth  fuch  a  fcraping  on  the  ground,  that  they  cannot  heare  a  good  while  after,  fo  that 

*  the  word  is  hindered  ;  but  when  any  other  names  of  God  are  mentioned,  they  make  no 

*  curtefieat  all,  as  though  the  names  of  God  were  not  equal,  or  as  though  all  reuerence 

*  ouglit  to  be  giuen  to  the  fyllables.     We  fpeake  not  of  ringing  when  mattens  is  done,  and 

*  other  abufes  incident,  bicaufe  we  flial  be  anfwered  that  by  the  boke  rhey  are  not  main- 
*■  tayned,  only  we   defire  to  haue  a  boke  to  reforme  it.     As  for  organes  and  curious  fing- 

*  ing,  thoughe  they  be  proper  to  Popyflie  dennes,  I  meane  to  cathedrall  churches  ;  yet 
^  fome  other-s  alfo  muft  haue  them.     The  queenes  chapell,  and  thefe  churches  (whych 

*  ihould  be  fpedlacles  of  Chryftian  reformation)  are  rather  patternes  and  prefidences  to  the 
♦■  people  of  all  fuperftition.' 

Hooker,  Ecclef  Pol.  book  V.  feet.  33,  has  defended  with  great  learning  and  judgment 
the  pradtice  of  eh;inting  or  finging  the  Pfalms  by  courfe,  or  fide  after  fide,  againft  an  ob- 
jection of  Cartwright,  in  another  part  of  his  works,  to  wit,  that  '  it  is  the  more  to  be  fuf- 

*  pe<fted,  as  the  Devil  hath  gone  about  to  get  it  authority;'  nevenhelefs,  fo  lately  as  the  time- 
of  king  William,  endeavours  were  ufed  to  get  it  banifhed  from  the  church.  Hooker  pro- 
fei^fies  to  wonder,  a-s  indeed  any  man  would,  how  the  Devil  can  be  benefited  by  our  finging 
&f  Plalms  ;  and  for  finging  the  Bsnediftus  and  other  hymns  i^e  thusapologizes :  '  Of  reading 
'  or  finging  Magnificat,  Benedi£lus,  and  Nunc  Dimittis  oftner  than  the  reft  oi  the  Pfalms, 

*  the  caufes  are  no  whit  lefs  reafonable;  fo  that  if  the  one  may  very  well  monthly,  the  other 

*  may  ai  well  even  daily  be  iterated.  They  are  fongs  which  concern  us  fo  much  more 
'■  than  the  fongs  of  Dauid,  as  the  Cjofpel  toucheth  us  more  than  the  law,  the  Nev/  Tefla- 
'  meat  iban  the  old.     And  if  the  Pfahns  for  the  excellency  of  their  ufe,  deferve  to  be, 

*  qftaefi 


Chap.  8.       AND    PRACTICE    OF    MUSIC,  265 

The  care  of  feleding  from  the  Common  Prayer  the  offices  moft 
proper  to  be  fung,  was  a  matter  of  fome  importarrce,  efpecially  as 
the  Rubric  contains  no  diredtlons  about  it  j  for  this  reafon  it  is  fup- 
pofed  that  the  mufical  part  of  queen  Elizabeth's  liturgy  was  fettled 
by  Parker,  archbifliop  of  Canterbury,  who,  befides  that  he  was  a 
great  divine,  an  excellent  canon-lawyer  and  ritualift,  and  a  ge- 
neral fcholar,  was  alfo  a  fkilful  mufician  *.  Befides  the  offices 
above-mentioned,  conftituting  what  are  now  termed  the  Morn- 
ing, Communion,  and  Evening  Services  in  four  parts,  with  the 
preces,  refponfes,  and  litany,  that  is  to  fay,  the  verficles  and  fuf- 
fragcs,  Tallis  compofed  many  anthems,  as  namely,  *  O  Lord  give 
thy  holy  fpirit,'  in  four  parts ;  '  With  all  our  hearts,'  *  BleiTed  be 
thy  name,'  '  Wipe  away  my  fins,'  and  others  in  five  parts,  which 
are  printed  in  a  colleaion  entitled  *  The  firft  Book  of  feleaed  Church- 
mufic,  colleded  out  of  divers  approved  authors  by  John  Barnard,  one 
of  the  minor  canons  of  the  cathedral  church  of  St.  Paul,'  1641. 

oftner  repeated  than  they  are,  but  that  the  multitude  of  them  permltteth  not  any  oftner 
repetition,  what  diforder  is  it,  if  thefe  few  Evangelical  hymns,  which  are  m  no  refpea 
lefs  worthy,  and  may  be,  by  reafon  of  their  paucity,  imprinted  with  much  more  eafe  m 
all  men's  memories,  be  for  that  caufe  every  day  rehearfed?  In  our  own  behalf  it  is 
convenient  and  orderly  enough,  that  both  they  and  we  make  day  by  day  prayers  and 
fupplications  the  \'ery  fame  ;  Why  not  as  fit  and  convenient  to  magnihe  the  name  of 
God  dav  by  day  with  certain  the  very  felf  fame  Pfalms  of  praife  and  thankfgiving  :  Ei- 
ther let 'them  not  allow  the  one,  or  elfe  ceafe  to  reprove  the  other.  For  the  anticnt  re- 
ceived ufe  of  intermingling  hymns  and  pfalms  with  divine  readings,  enough  hath  been' 
written.  And  if  any  may  fit!y  ferve  unto  that  purpofe,  how  Hiould  it  better  have  been 
devifed,  than  that  a  competent  number  of  the  old  being  firft  read,  thefe  of  the  new 
fhould  fucceed  in  the  place  where  now  they  arefet?  In  which  place  notwithttanding, 
there  is  joined  vvith  Benedidus,  the  hundred  Pfalm  ;  with  Magnificat,  the  ninety-eight; 
the  nxtv-feventh  with  Nunc  Dimittis ;  and  in  every  of  them  the  choice  left  free  for  the 
minifte/to  ufe  indifferently,  the  one  for  the  other.  Seeing  therefore  they  pretend  no 
quarrel  at  other  Pfalms  which  are  in  like  manner  appointed  alfo  to  be  daily  read.  Why 
do  thefe  fo  much  offend  and  difpleafe  their  tafte?  They  are  the  firft  gratulations  where- 
with our  Lord  and  Saviour  was  joyfully  received  at  his  entrance  into  the  world,  by  furh 
as  in  their  hearts,  arms,  and  very  bowels,  embraced  him  ;  being  prophetical  difcoveries 
of  Chrift  already  prefent,  whofe  future  coming  the  other  Pfalms  did  but  fore-fignifie  ;. 
they  areaeainft'the  obftlnate  incredulity  of  the  Jews,  the  moftluculent  teftimonies  that 
Chriaian  religion  hath  ;  yea  the  only  facred  hymns  they  are  that  Chnftianity  hath  pecu- 
liar unto  itfelf ;  the  other  being  fongs  too  of  praife  and  thankfgiving,  but  fongs  where- 

.  with  as  we  ferve  God,  fo  the  Jew  likewife.'     Ecclef.  Polity,  book  V.  fea.  40. 

*  Strvpe,  in  his  life  of  this  nrclate,  page  4,  relates  that  in  his  youth  he  had  been  taught 

to  fine  bv  one  Love,  a  prieil,  and  alfo  by  one  Manthorp,  clerk  of  St.  Stephen  sin  Norwich;. 

-^nd  in  his  tranilation  of  the  Pfalms  of  David,  a  book  hut  little  known,  and  which  he  com- 

nofed  during  his  retreat  from  the  perfection  of  queen  Mary,  are  certain  obfervations  oq. 

tiie.  ec.clefuutical  tones  which  Ois.vv  Kim  to  Iwve  been  deeply  Mled  m  church-mufic. 

Tallis. 


2^66  HISTOPs^Y   OF   THE    SCIENCE      Bookll. 

TalHs  died  the  twenty-third  day  of  November  1585,  and  was  buried 
in  the  parifh  church  of  Greenwich  in  Kent.  Strype,  in  his  Conti- 
nuation of  Stow's  Survey,  publiflied  in  1720,  fciys  that  in  his  circuit- 
walk  round  London  he  found  in  the  chancel  of  that  church,  upon  a 
;f{:one  before  the  rails,  a  brafs  plate  thus  infcribed  in  old  letters  : 

(0ntcn:cb  Jjcrc  torlj  \p  a  iuonfjp  tup^^t, 
W^o  tot  long  tpme  in  mn^kh  bote  ti)c  %tll : 

i^i^  name  to  l^ctu,  toajs?  Cl^oma^  ^allp^  6p5l)t, 
g[n  lionctt  ucrtuou^  bfi;  |>c  tipti  txttih 

l^  fcni't!  long  rpmc  in  cljappd  tottlj  grcrc  prapfe, 
f  otucr  foutrc pgnc.s?  rcpgnciSf  (a  rfjing  not  ofrcn  fcenc) 

31  mean  ^img  l^enrp  anb  prpncc  Cbiuarti'^  tiape^, 
<Duene  !^arp,  anti  €\iy^hcf^  ouu  Quene. 

f^e  marpets  tua^,  tljougfi  c^iltircn  Ije  ftati  none, 
^ntJ  ipu'ti  in  ioue  M  tljre  anti  tfjirtp  pcrc^ 

a^ptif)  icpal  rpoUate,  tufjo^  name  pclppt  te^  3|one, 
H^jio  gete  cnromli'ti,  |^im  tompanp  noi»  fiear^. 

5$^  fjc  tiptJ  Ipuc,  fo  altfo  tib  ijc  bp, 

3!n  mplti  anti  qupet  fort,  <0  liajrpp  man  ! 
Co  <2Bob  ful  oft  foi:  mercp  biti  l^c  crp, 

l^gecefoce  i)e  Ipucisf,  ict  betg  i^o  tD(|'it  [je  can. 

The  ftone  on  which  this  infcrlption  was  engraven  was  repaired 
by  Dean  Aldrich*. 

The  following  motet  of  Tallis  is  the  fecond  in  order  of  the  Cantio- 
nes  Sacr?E  publiQied  by  him  and  Bird  in  1575.  The  Miferere  that 
here  follows  it,  is  the  lad:  compofition  in  the  fame  colledtion. 

•  There  was  alio  in  the  old  church  of  Greenwich  an  infcrlption  on  brafs  in  mcmorj 
of  Richard  Bowyer,  gentleman  of  the  chapel  and  mafter  of  the  children  under  king  Henry 
Vill.  Edward  VI.  queen  Mary,  and  queen  Elizabeth.-  He  died  26  July,  1561,  and  was 
fucceeded  by  Piichard  Edwards  from  Oxford. 

There  was  alfo  in  the  fame  church  a  ftone,  purporting  that  Ralph  Dallans  organ-maker 
dcceafed  while  he  was  making  the  organ,  which  was  begun  by  him  February  1672, 
snd  finifhed  by  James  White  his  partner,  who  completed  it,  and  erected  the  ftone  2673. 
But  the  old  church  being  pulled  down  foon  after  the  year  1720,  in  order  to  the  rebuilding 
it,  not  the  lead  trace  of  any  of  thcfc  memorials  is  now  remaining. 


ehflp.8.      AND    PRACTICE    OF    MUSIC. 


267 


^ 


abfter-ge  Do-mi-ne  abfter-gelJo- mi 


i 


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-lic-ta    me   - 


^ 


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me  -    —       - 


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^^ 


qtKf 


dct-lic-ta  me    —     I—      —       -    a 


i 


^ 


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ffi 


i 


qua?  in  -  lei 


de-  -lic-ta        me  _ 


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—      -  a 


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>  .  .'Ic  -ta        oie    -       -  a 


Vol.  III. 


M  m 


268 


HISTORY   OF    THE    SCIENCE     BookH. 


/r. .  Q ,.  r  c 


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in-fci  -  en -ter       ia-ue  —   nis 


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ter   iii-ue-  nis 


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Sc'  ig-nos-ce  pae-ni  -ten  — 


-O— ^ 


^m 


mut 


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q  f  r 


-jj— Q 


tu   es    De>as 


^ 


4— 
nam  tu 


t 


me  -     -  us 


nam  tu    es 
O  It 


De  -us     me  — 


5 


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nam 


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3 


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tu     es        JDe  -       -  us 


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:^ 


1- 

es    nam]     tu       es 


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ti 


■  j  d.j4i2^ 


De 


nam   tu 


es        De  _  _ '    -     _ 


Chap.  8.      AND    PRACTICE    OF    MUSIC.  269 


us  me 


1-^-^ 


nam  ta 


wWf^ 


■(»  -    I  n~H't~f-p^'-F^ r — • — f-i  ~J — t-t 


es   De 


-IIS      me-     as        'ti    -  Vii    so-li  fi 


** 


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us      De-US 


me-    —       —  us 


^ 


f^^ 


i 


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j;-i>rrrrM 


m.e  —      —     — 


^     —      -.   Us 


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^ 


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^ 


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—  tts  me    -     -     -       -  us  De-US     me    -     us 


ti-bi     so-li 


w 


§ 


i 


ti    -  bi 


so-li    fi  - dit 


M    q   T  r 


Q    n  * 


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^ 


n — ^ 


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i 


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me-  a 


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€h-p 


f  i  -  dit    a  -.  ni 


i 


:«|33 


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ti    -    +  bi     so-li      fi -|  dit  fi   -ni  -ma 


Tmrr 


fi    -    -  dit  ti  -   bi      %o  -  \i 


i 


e=^-^ 


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mc     ^       ^ 


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fi  -  dit    a  -  ri 

Z3: 


-  ma        me   - 


nl  t-ma  me  -     ^      :^.—  ij.  a 


fi-  dit      a 

a^ 


^ 


9      q 


a  -  ni  -  ma        me    ^    ,-  a        a  - 


^=e: 


i 


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ni   -  oia        me  I    -  a 


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i 


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m  -  ma  me    — 


^ 


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33=a 


:c^ 


IT 


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fl:>    , 


so-n     fi  -  dit'  a-nima      ine   - 

\ 


-a  tu      fs 


i 


d    ^i^ 


<P=^ 


:f=i: 


•y-i 


ti  —  bi       so  -ii    fi-dit  a-nima  ma  - 


tu 


HISTORY   OF  THE   SCIENCE     BookIL 


^^f^ 


'■>        Q 


M 


till   es     falus      me  —    —     —     _ 


---~0- 


iroi 


i 


td  I   e4   aiu 


IS    iT\e 


a 


tu 


es       fa  — Ixts 


es    valus  rae  ^ 


=i 


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*Ti  !  'A]  c) 


lalus  m^( 


Ot  J   f 


me  —   L.    — 


-rr 


f/alus  me  — 


q      'jf|»p  Q  Cp= 


tu      es    falus    me.- 


w 


o      c 


0 — ^-i- — i-J 0 1— I ^ — 4 — I— 

es    falus  me—      —    —     —    —    —  —   —  a. 


i 


^^ 


O.       Q 


P 


SE 


KL'.'  J  J 


^ 


tuesfa^-lus     me—   — 


i 


:u     es   lalus    mea    tu  es  id 


me 


m 


u 


i 


i 


q      Q 


m 


m 


a  Qf 


tu    es     fa- 


_  q  u    e 


i 


i 


Ci      o 


i 


^=^ 


tu  es    fa.-lus  me  —     _ 


a,   tu  es       fa- 


-     _   lus    me  —•  —     ^ 


Chap.8.       AND    PRACTICE    OF    MUSIC. 


271 


w 


_^  rem   me  —    —   L    —  urn   te  —  ftdn—tur    la-chrimae      me  — 


m 


M 


r\     9     #:<   q  ■  pl   cj 


ae, 


do  —  1 3 rem  me  j.     ^    —     —    um 


xz 


^ 


^ 


XX 


XH 


se, 


do  —  lo—  rem 


me 


to 


^ 


UTn 


i 


q    d     P 


a=d 


do. -lor em    me  — 


—   —  —  am 


teftan 


—    um  re, 


^'     »d     '■' 


_  i_  ae,       do  -.  1 


)  —  rem    me  — 


i 


1 


^3g 


=T^r= 


o— — lo— rem    me 


m 


i 


P 


^^ 


^ 


te— ftau— tur    la-chriTpae 


q  •  P 


irTmleine 


fc 


me  ^  —  £, 


te  —  ftan— tur 


la-chriniJE  me 


fis 


^IHIi^  cl.[^J  J 


g>       Q     Qzg 


^ 


—    —    —  tur     la  —  chrimae  me 


^ 


E 


i 


ci    d    ^J    o 


I 


^ 


—  ftantur    lachri 


'^H>  r  J  d 


-TTUe  — '     — 


TTTB  —     —      — 


-'d^ fis  memor  Do- 


lEX 


^P 


a=23 


^ 


Jnfe-    - 


—   —  —  —  um   te ftan— tur    la^chrimiB 


-   -  ae. 


Tor.  III. 


Nn 


272 


HISTORY   OF    THE    SCIENCE     BookIL 


r  q  ■  I  I  Q  ^  J  f  >  I  q  q  Q   , 


m 


WS 


fis  mem(tr  Domi -ne,     fis  TcitraoYl    JJomine, 


m 


^ 


fi^  memor 


^^ 


■^ 


r  r  vn 

6mor  Domine 


^ 


XT 


m^mor  Domine, 


fis  memor  Domine,    fis 


J 


i 


^ 


^ 


I        -.  iTiine. 


,  fismeinor  Do 


mine, 


fis  memor  Do  — 


^   o    fj     -1 


azK 


^ 


$ 


n  '^ 'memor  Domi  n  e , 


^^ 


^ 


fis  memor    Do -. 


ij'V''  rr 


fis  memor  Domine,         fis  memor  Domine_,  fis  memor  Do— 


a. 


i 


9 Q 


:a 


^ 


:t=33 


W^ 


♦K^ 


Do   -    -    - 


-  -mi  —  -    -  np  J 


bonas  uolun  — 


IS 


Q       q  I  *~» 


^^ 


be    uolun.-tatis      tu 


member    Do  —   — '  —  —  mi  — ne,         bon 


^ 


« 


^i  q  •  • 


^ 


,^S 


—   —  nil nil 


d   cJ    J     ■  i 


i 


bonae 


bonae    uolun  — .  tatis      bor:& 


Chap.8.      AND    PRACTICE    OF    MUSIC. 


273 


^^ 


3 


E 


—  tatis  tu 


tu 


CCX 


£ 


ii 


WfrV 


^ 


-•f    o    ttq±=^ 


m 


ae 


^ 


0  0     6 


i 


.  boii«  uolun— tatis     tu  — 


# 


ae, 


XP 


Nunc  ex- 


Xt 


Nunc  ex-ju 


\r—^ir-^ 


^ 


5 


^^i 


=s 


—  —  .-  -    ae. 


BfgF^ 


tu 


—    —  ae,  JNimc  ex:=auc{i  precesme—    - 


?.#T^ 


i 


P 


^■]:='-^   a    I 


uoluntdtv 


•g g 


tu  —  —  —   «,      Nunc  fex-ai^di  preces me—    — 


^m 


Q  *   w 


i 


::=; 


i 


S 


audi     pre  — 


—  ces    meas  , 


Nunc  exJ. 


Nunc  ex. 


I  rrVi 

-.  ^  au-oi  prece 


au-di  preces 


,  — dl    preces    m( 


s 


fe=3 


—    —    —     as 


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xj: 


as 


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i 


-audi      Pre  — 


^ 


*M  I 


—     —    —    —    —  Lees   me  —  -.    1-   —  —  as 


Nunc 


ex-a 


-audi 


-  dl      pre ces 


me 


S 


1 

pre 


& 


f—ar 


& 


Uces  me  —  —  — 

.1  .1,1  'I 

as    preces  me 


^as, 


he 


3 

l^erui 


XZ 


1-  —  as 


=^=5 


ex 


^ 
^ 


-au-di  pii*e-    - 


—  ces 


01  o     o 

plreces  me  J as  , 


. as, 


i 


g         = 


preces  m^e 


—  —  —  as 


N  n  a 


274 


HISTORY    OF    THE    SCIENCE     Book II. 


■^■iLa. 


"V"  ^ — i^ 


^=a: 


be        lerut   et  per 


as-  -  auTTi  , 


^^ 


O      ! 


1^    {^     ■■ 


^ 


et  per     ae  —    —  ,—  —      uum, 


k 


fertii    fct  per 


-  J  •yro  „i  J  o<,:,i7± 


^2=^ 


^ 


k      l^erui  j  et  per  ae 


uum, 


s 


^ 


ferui  et  per 


vfi  —  Usim^pfcr    :«  — 


iiiiE 


^ 


iium, 


ferui 


xz 


y       ferui   et  per        ae  -     -uum^ 


-.irrh^ 


^3 


** 


^ 


k    I'erui 


i 


et  per  ae- 


-    _uuni. 


tibi 


fpiritus 


s 


^ 


\Vf     c 


:^ 


1 


ae  — 


S 


uum    per 


ae  _    — 


uum 


M 


tilJifpi 


KX 


TiGi    mno      ■ 


lui    tt  per 


TM. 


==is 


ifc 


unxm,  tib  i  fpirituft  meJ 


^ 


^ 


i 


:^:i 


1 


CE 


e/    £  —  uump»;rii;  JT    -uum, 


fci^ 


tibi  fpiritiiir  me  —  — 


^ 


IPi 


d  '    a 


he    ferui  et  per    ae  -    -uum^ 


i 


335: 


tt 


tibi 

m 


tibi 


3:j 


fpxritus       me,    —    —   —    —  us,  tibi 


^^ 


s 


_.  ritas   me 


us 


C?=S=S 


^ 


■     ■>  p 


a==¥ 


XX: 


-.  us 


^=?J^ 


tibi    fpiritus    me .us, 

1 


^ 


^ 


g 


tibi   fpirii-tits    meus',  tibi 


—    ^vis> 


a^ 


fpiritus   me  „ 


fpiritus     me  —    ^     -    —    us 


tibi    fpiritus  me-. 


Chap.  8.      AND    PRACTICE    OF    iM  U  3  I  C. 
Q    M    ■..-— .^ ^ — ^ — >   .q  ..ji 


275 


-us    tibi   fpi^ritus       me— ,-uji      A  -  —  men  ,  , 

THOMAS    TALLIS 


276 


HISTORY   OF   THE   SCIENCE     Book  II. 
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278 


HISTORY   OF   THE   SCIENCE     Bookll. 


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ne  , 
THOMAS     TALLIS 


Chap.  8.       AND    PRACTICE    OF    MUSIC.  279 

The  Miferere  above  exhibited  is  in  its  contexture  extremely  cu- 
rious and  artificial,  as  will  appear  by  the  following  analyfis  of  its 
parts. 

1  Superius  Primus      -     Dux  Partes  in  una.  Canon  in  unifono. 

2  Superius  Secundus   -    Canon  in  unifono. 

•pvY  CQuatuor  partes  in  una,  Canon  in  unifo-- 

^  I    nOj    crefcit  in  duplo,  Arfm  6c  Thefin.. 

4  Contratenor     -       -  Canon  in  unifono. 

5  Tenor         -         -  Voluntaria  pars. 

6  l^alTus  primus     -     -  Canon  in  unifono. 

7  BafTus  fecundus     -  Canon  in  unifono. 

Richard  Farrant,  a  fine  old  compofer  for  the  church,,  was  a- 
gentleman  of  the  chapel  royal  in  1564,  and  after  that  mafter  of  the 
children  of  St.  George's  chapel  at  Windfor,  with  an  allowance  of 
81I.  6s.  8d.  per  annum,  for  their  diet  and  teaching.  He  was  alfo 
ojie  of  the  clerks  and  one  of  the  organifts  of  the  fame  chapel.  Upon 
occafion  of  thefe  latter  appointments  he  reiigned  his  place  in  the  cha- 
pel royal,  but  in  1569  was  called  to  it  again,  and  held  it  till  1580, 
when  Anthony  Todd  was  appointed  in  his  room.  His  places  in  the 
chapel  at  Windfor  he  enjoyed  to  the  time  of  his  death,  which  is  fup- 
pofed  to  have  been  in  1585,  Nathaniel  Giles,  then  a  bachelor  in 
mulic,  being  fworninto  both  of  them  on  the  firft  day  of  Odtober  in 
that  year.  His  compofitions  are  in  a  ftyle  remarkably  devout  and 
fblemn  ;  many  of  them  are  printed  in  Barnard's  Colledion  of  Church- 
mufic  above-mentioned,  and  a  few  in  Dr.  Boyce's  cathedral  mufic. 

Robert  Parsons,  or,  as  his  name  is  fpelt  by  Morley,  Persons, 
was  organift  of  Weftminfter  abbey.     The  following  epitaph  on  hini^ 
is  in  Camden's  Remains. 

.  Upon  Mafter  Parfons,  Organift  at  Weftminfter. . 

Death  paffing  by  and  hearing  Parfons  play, 
Stood  much  amazed  at  his  depth  of  fkill. 
And  faid  *  This  artifl  muft  with  me  away,* ' 
For  4eath  bereaves  us  of  the  better  flill  ; 

But  let  the  quire,  while'he  keeps  time,  ling  on,^ 

Eor  Parfons  re/Is,  his  fervice  being  done., 

Hr 


28o  JlISTORY    OF    THE    SCIENCE       Book  II. 

He  was  fworn  of  queen  Elizabeth's  chapel  on  the  feventeenth  day 
of  Odober  1563,  and  was  drowned  at  Newark  upon  Trent  on  the 
twenty- fifth  of  January,  1569.  Many  of  his  compofitions  are  ex- 
tant in  MS. 

Butler,  in  his  Principles  of  Mufic,  page  91,  fpealcs  in  terms  of 
high  commendation  of  the  laNomines  of  Parfons,  and  alfo  ofthofe 
of  Tye  and  Taverner  *. 


CHAP.  IX. 


N  what  manner  the  theory  of  mufic  was  anciently  taught  in  the  unl- 
verfities  of  this  kingdom,  efpecially  that  of  Oxford,  may  in  fomc 
meafure  be  colleded  from  the  accounts  given  by  Wood  of  the  ftudies 
and  exercifes  of  candidates  for  degrees  in  that  faculty.  As  to  the  prac- 
tice of  it,  it  is  evident  that  for  many  years  it  was  only  to  be  acquired 
in  monafteries,  and  in  the  fchools  of  cathedral  and  collegiate  churches. 
The  mufic  ledure  in  Oxford  was  not  founded  till  the  year  1626  ; 
and  before  that  time,  although  there  were  endowments  for  the  fup- 
port  of  profeflbrs,  and  the  reading  of  ledlures  in  divinity  and  other 
faculties,  we  meet  with  no  account  of  any  thing  of  the  kind  re- 
Tpeding  mufic. 

It  is  probable  that  this  confideration,  and  a  view  to  the  benefit 
that  might  accrue  to  fludents  in  mufic,  in  common  with  thofe  in- 

*  The  term  In  Nomine  is  a  very  obfcure  defignation  of  a  mufical  compofition,  for  it 
may  fignify  a  fugue,  in  which  the  principal  and  the  reply  differ  in  the  order  of  folmifation ; 
fuch  a  fugue  being  called  by  muficians  a  Fugue  in  Nomine,  as  not  being  a  fugue  in 
ftridnefs.  Again,  it  may  feem  to  mean  fome  office  in  divine  fervice,  for  in  the  Gradual 
of  the  Romifh  church  the  Introitus,  In  feftos  fandilTimi  nominis  Jefu  has  this  begin- 
ning, •  In  liomine  Jefu  omne  genu  fleftatur:'  and  this  latter  circumftance  feems  to  be 
decifive  oF  the  queftion.  But  upon  looking  into  an  In  Nomine  of  Mafter  Tauerner,  in  that 
venerable  old  book  iutitled  '  Morning  and  Euenyng  Praier  and  Communion  fet  forth  in 

•  lower  partes,  to  be  fong  in  churches,'  printed  by  John  Day  in  1565,  it  clearly  appears 
that  the  term  refers  to  the  nineteenth  Pfalm,  as  it  ftands  in  the  Vulgate,  though  it  is  the 
twentieth  in  our  tranllation,  and  that  by  reafon  of  the  following  verfe  in  it,  '  L^etabimur 

*  in  falutafi  tuo :  &  in  nomine  Dei  noftri  magnificabimur.' 

In  the  Life  of  Milton  by  his  nephew  Phillips,  prefixed  to  theEnglifh  tranflation  of  his 
State  Letters,  it  is  faid  that  John  Milton  the  father,'  who  was  fo  eminently  {killed  in  mu- 
fic as  to  be  ranked  among  the  mailers  of  thefcience  in  his  time,  compofed  an  In  Nomine, 
for  which  he  received  of  a  Poliai  prince  a  prefent  of  a  gold  chain  and  medal. 

tended 


Chap.  9.      AND    PRACTICE    OF    MUSIC.  281 

tended  for  other  profeffions,  from  public  ledures,  were  the  motives 
with  that  princely-fpirited  man,  Sir  Thomas  Grediam,  to  the  foun- 
dation of  that  college  in  London  known  by  his  name,  which  within 
thefe  few  years  has  ceafed  toexift  j  and  the  endowment  for  the  main- 
tenance of  perfons  of  fufficient  ability  to  read  public  lectures  in  the 
faculties  and  fciences  of  divinity,  aftronomy,  mufic,  geometry,  law> 
phyfic,  and  rhetoric. 

To  this  end  he  by  his  will,  bearing  date  the  fifth  day  of  July  1575, 
declares  the  ufes  of  a  conveyance  made  by  him  dated  the  twentieth  day 
of  May  preceding,  to  his  lady  and  certain  other  truftees  therein  named, 
that  is  to  fay:  *  As  to  a  moiety  of  his  buildings  in  London  called  the 

*  Roiall  Exchange,  after  the  determination  of  the  particular  eftates 

*  in  the  whole  by  the  faid  conveyance  limitted,  to  the  maiorand  comi- 

*  nalty  and  cittezens  of  London  &  their  fucceffbrs,  willing  and  dif- 

*  pofing  that  they  fhall  every  yere  give  and  diftribute  to  and  for  the 

*  fuflentation,  maynetenaunce,  and  findinge  foure  perfons,  from  tyme 

*  to  tyme  to  be  chofen,  nominated,  and  appointed  by  the  faid  malor 

*  and  cominalty  and  cittezens,  and  their  fucceflbrs,  mete  to  rede  the 

*  ledlures  of  divynitye,  aftronomy,   mulicke,  and  geometry,   within 

*  his  then  dwelling-houfe  in  the  parifh  of  St.  Hellynes  in   Bi(hopf- 

*  gate-flreete,  and  St.  Peeters  the  Pore,  in  the  cittye  of  London,   the 

*  fomme  of  two  hundred  pounds  of  lawfull  money  of  England,  that 
'  is  to  fay,  to  every  of  the  faid  readers  for  the  tyme  beinge,  the  fomme 

*  of  fifty  pounds  yerely,  for  their  fallaries  and  ftipendes  mete  for  foure 

*  fufficiently  learned  to  reade  the  faid  ledtures,  the  fame  to  be  paid 

*  at  two  ufuall  tearmes  in  the  yere  yerely,  that  is  to  fay,  at  the  feaftes 

*  of  th'  annunciation  of  St.  Mary  the  virgin,  and  of  St.  Mighell  th* 

*  archangell,  by  even  portions  to  be  paid.* 

And  as  concerning  the  other  moiety  which  he  had  by  his  faid  will 
difpofed  to  the  wardens  and  cominalty  of  the  miftery  of  the  mercers  of 
the  cittye  of  London,  the  teftator  wills  and  difpofes  it  to  them  and  their 
fucceffors  that  they  {hall  *  yerely  pay  and  diftributetoand  for  the  find- 

*  ing,  fuftentation,  and  mayntenance  of  three  perfons  mete  to  read  the 

*  lecStures  of  law,  phincke,  and  rethoricke,  within  his  dwelling-houfe 

*  aforefaid,    150I.  viz.  50 1.  to  each  of  the  faid  three  perfons.' 
Thefe  endowments,  by  the  terms  of  the  will  were  poftponed  during 

the  life  of  lady  Greftiam.     Sir  Thomas  died  on  the  twenty-firft  day 

of  November,    1 579,  and  his  lady  on  the  third  of  November,  1 596  ; 

V©L.  HI,  O  o  upon 


282  HISTORY    OF    THE    SCIENCE      Book  IL 

upon  which  the  provifions  for  the  lectures  took  efFed:.  In  the  begin- 
ning of  the  year  fucceeding  the  death  of  lady  Grefham,  the  mayor,, 
&c.  of  London,  and  the  Mercers  Company  wrote  to  the  univeriities 
of  Oxford  and  Cambridge,  requefting  a  nomination  to  them  feverally 
of  perfons  properly  qualified  for  profeflbrs,  in  confequence  of  which 
nomination  three  werechofen  from  each  univerfity  -,  thefeventh,  that 
is  to  fay,  the  mufic  profefTor,  Dr.  John  Bull,  was  appointed  by  the 
fpecial  recommendation  of  queen  Elizabeth. 

Having  eleded  the  profeflbrs,  the  city  and  the  Mercers  Company, 
next  proceeded  to  fettle  the  courfe  and  fubjeds  of  the  lectures ;  and 
this  was  done  by  certain  ordinances  and  agreements,  bearing  date 
the  fixteenth  day  of  January,  1597,  between  the  mayor  and  com- 
monalty and  citizens  of  London  on  the  firft  part,  the  wardens  andi 
commonalty  of  the  myflery  of  mercers  of  the  fame  city  of  the  fe- 
cond  part,  and  the  lecturers  eleded  and  appointed  and  placed  in  Gre- 
{ham-houfe  on  the  third  part. 

It  was  for  fome  time  a  matter  of  debate  whether  the  ledtures  fliouldi 
be  red  in  Englifh  or  in  Latin,  or  in  both  languages*  ;  the  reafons  for 
reading  them,  or  at  leaft  the  divinity  ledure,  in  Englifli,  are  extant 
in  Strype's  edition  of  Stowe's  Survey,  but  at  length  it  was  agreed: 
that  they  fliould  be  red  in  both  languages. 

The  ordinances  above-mentioned  may  be  feen  at  large  in  Strype'ss 
edition  of  Stow,   vol.  II.  Append.  11.   page  2,  and  alfo  in   the  pre- 
face  to  Ward's  Lives  of  the  Greftiam  Profeflbrs  :  what  concerns  the- 
muflc  ledure  is  in  thefe  words: 

'  The  falemn  mufick  ledure  is  to  be  red  twice  every  week,  in  man- 

*  ner  following,  viz.   the   theorique  part  for  half  an  hour,  or  there- 

*  abouts  ;  and  the  pradique  by  concent  of  voice  or  of  inftruments, 

*  for  the  refl:  of  the  hour ;  whereof  the  firft  ledure  to  be  in  the  La- 

*  tin  tongue,  and  the  fecond  in  the  Englifli  tongue.     The  days  ap- 

*  pointed  for  the  folemn  ledures  of  mufick  are  Thurfday  and  Satur- 

*  day  in  the  afternoons,  between  the  hours  of  three  and  four ;  and 

*  becaufe  at  this  time  Mr.  Dodor  Bull  is  recommended  to  the  place 

*  by  the  queen's  moft  excellent  majefty,  being  not  able  to  fpeak  La- 
'  tin,  his  ledures  are  permitted  to  be  altogether  in  English  fo  long  as. 

*  he  (hall  continue  the  place  of  the  mufic  ledurer  there.* 

*  Book  I.  pag.  128,  edit.  1720. 

Thr 


CTiap.9'     AND    PRACTICE    OF    MUSIC.  283 

The  ordinances  above-mentioned  appoint  the  days  and  hours  for 
reading  the  feveral  ledlures  ;  but  thefe  were  not  finally  adjufted  till 
the  year  163 1,  when  the  reading  was  confined  to  the  law  terms,  and 
that  in  the  following  order  : 

Monday,  Divinity, 

Tuefday,  Civil  Law. 

Wednefday,  Aftronomy-. 

Thurfday,  Geometry, 

Friday,  •  Rhetoric. 

Saturday,  ^^l? 

And  this  is  the  order  now  obferved  *. 

William  Bird,  fuppofed  to  be  the  fon  of  Thomas  Bird,  one  of 
the  gentlemen  of  the  chapel  in  the  reign  of  Edward  VI.  -f  was  one  of 
the  children  of  the  fame  -,  and,  as  it  is  aflerted  by  Wood  in  the  Afli- 
molean  MS.  was  bred  up  under  Tallis.  There  are  fome  particulars 
relating  to  this  eminent  perfon  that  embarrafs  his  hiftory,  and  render 
it  difficult  to  afcertain  precifely  either  the  time  of  his  birth,  or  his 
age  when  he  died,  and  confequently  the  period  in  which  he  fiourifhed. 
That  he  was  very  young  in  the  reign  of  Edward  VI.  may  be  con- 
cluded from  the  circumftance  that  he  lived  till  the  year  1623,  at 
which  time,  fuppofing  him  to  have  been  born  in  the  firfl:  year  of  that 
prince's  reign,  viz.  anno  1546,  he  muft  have  been  of  the  age  of 
feventy-feven.  And  yet  there  are  many  of  his  compofitions,  particu- 
larly maffes,  extant,  which  muft  be  fuppofed  to  have^been  made  while 

*  In  the  eighth  year  of  the  prefent  king  an  afl:  of  parliament  pafTed  for  carrying  into 
■execution  an  agreement  of  the  city  and  the  mercer's  company  with  the  commifrioners  of 
the  excife  revenue  for  the  purchafe  of  Grefliam-college,  and  the  ground  and  buildings 
thereunto  belonging,  and  for  veUing  the  fame  in  the  crown  for  the  purpofe  of  eredting  and 
building  an  excife-office  there,  and  for  enabling  the  ledlurers  of  the  faid  college  to  marry, 
notwithftanding  any  rellridlion  contained  in  the  will  of  Sir  Thomas  Grefham,  knight,  de- 
ccafed. 

The  bill  was  flrongly  oppofcd  in  the  houfe  of  commons  by  the  profeflbrs,  with  Dr.  Pcm- 
berton,  the  phyfic  profefTor,  at  their  head  ;  but  a  claufe  being  inferred  therein  that  gave 
him  an  additional  fum  of  50 1.  a  year  for  his  life,  he  was  fatisfied,  as  were  the  other  pro- 
feflbrs with  the  fum  of  50 1.  a  year  in  lieu  of  their  apartments  in  the  college  over  and  above 
their  ftipends,  and  that  provifion  in  the  aft  that  left  them  at  liberty  to  marry.  The  city, 
and  alfo  the  mercetr's  company  were  obliged  to  find  and  provide  a  proper  and  lufficient  place 
or  places  for  the  profeflbrs  to  read  in  j  and  accordingly  ths  ledlures  are  now  red  in  a  room 
over  the  Royal  Exchange. 

t  Befides  being  a  gentleman  of  the  chapel,  it  feems  that  he  was  clerk  of  the  cheque. 
He  died  in  1561. 

O  o  a  the 


284  HISTORY    OF    THE    SCIENCE      Book  IL 

the  church  fervice  was  in  Latin,  and  bcfpeak  him  to  have  arrived  at 
great  excellence  in  his  faculty  before  the  final  eftablifhment  of  the  li- 
turgy under  queen  Elizabeth.  The  molt  probable  conjedure  that 
can  be  formed  touching  this  particular  feems  to  be,  that  he  was  a  child 
of  the  chapel  under  Edward  VI.  and  as  his  name  does  not  occur  in 
the  chapel  eftablifliment  of  queen  Mary,  that  he  was  either  not  in  her 
fervice,  or  if  he  was,  that  he  did  not  receive  a  flipend  as  Tallis  and. 
others  did  whofe  names  are  entered  on  the  roll. 

There  can  be  very  little  doubt,  confidering  the  time  when  they, 
lived,  and  the  compofitions  by  them  publifhed  feparately  and  in  con- 
jundion,  but  that  both  Tallis  and  Bird  were  of  the  Romifh  commu- 
nion. It  was  not  to  be  expeifted  that  in  thofe  times  the  fervants  of 
the  chapel  fhould  be  either  divines  or  cafuifls,  therefore  it  is  not  to 
be  wondered  at  if  Tallis  in  particular  accommodated  himfelf  to  thofc 
fucceflive  changes  of  the  national  religion  which  were  made  before 
the  reformation  was  completed  ;  or  that  he  and  Bird  (houfd  afterwards 
fall  in  with  that  eftabli(hment  which  banifhed  fuperftition  and  error, 
from  the  church,  and  become  good  and  fincere  proteftants. 

Upon  the  acceffion  of  queen  Elizabeth,  and  the  refolutions  taken 
by  her  to  reform  the  choral  fervice,  Richard  Bowyer,  who  had  been 
mader  of  the  children  under  king  Henry  VIII.  Edward  VI.  and  queen. 
Mary,  was  continued  in  that  ftation  -,  Dr.  Tye,  who  feems  to  have 
been  out  of  employ  during  the  reign  of  queen  Mary,  and  William t 
Blitheman  were  made  organifts,  and  Tallis  continued  a  gentleman  of 
the  chapel  royal.  As  to. Bird,  there  feems  to  have  been  no  provifion 
mads  for  him  at  court  :  on  the  contrary  he  went  to  Lincoln,  of 
which  cathedral  he  had  been  chofen  organift  in  1 563  j  nor  does  it  ap- 
pear that  he  had  any  employment  in  the  chapel  till  the  year  1569, 
when  he  was  appointed  a  gentleman  thereof  in  the  room  of  Robert  Par- 
fons,  who  about  a  month  before,  by  accident,  was  drowned  at  New- 
ark upon  Trent  *.  Upon  his  being  eleded  into  the  chapel.  Bird  was 
permitted  by  the  dean  and  chapter  to  execute  his  office  of  organift  of 
Lincoln  by  a  fubftitute  named  Butler,  of  whom  there  are  no  memo- 
rials remaining. 

It  appears  that  in  1575  Tallis  and  Bird  were  both  gentlemen,  and 
alfo  organifts  of  the  royal  chapel  j  but  the  time  of  their  appointment 
to  this  latter  otiice  cannot  now  be  afcertained. 

*  This  difafter  befel  Parfons  January  25,  1569,  and  Bird  was  fvvorn  in  his  room  Fe- 
bruary 22,  in  the  fame  year.     Cheque  Book, 

Woodj 


Chap.  9.     AND    PRACTICE    OF    MUSIC.  285 

Woodj  in  his  account  of  Morley,  Fafti,  anno  1588,  fays  of  Bird  that 
he  was  fkilled  in  the  mathematics  ;  and  it  there  and  elfewhere  appears 
that  Morley,  who  was  his  difciple,  was  taught  by  him  as  well  mathe- 
matics as  mufic. 

Thefe  are  all  the  particulars  of  his  life  that  can  now  be  recovered, 
excepting  that  he  died  on  the  fourth  day  of  July  in  the  year  1623, 
and  that  he  had  a  fon  named  Thomas,  educated  in  his  own  profef- 
fion,  who  in  the  year  1601  was  the  fubftitute  of  Dr.  John  Bull,  and 
while  he  was  travelling  abroad  for  the  recovery  of  his  health,  red  the 
mufic  ledlure  for  him  at  Grefham  college. 

The  compofitions  of  Bird  are  many  and  various;  thofe  of  his 
younger  years  were  moftly  for  the  fervice  of  the  church,  and  favour 
jftrongly  the  fuppodtion  that  he  then  adhered  to  the  Romiih  commu- 
nion ;  for  with  what  reafon  can  it  be  imagined  that  a  proteftant  mu- 
fician  {hould,  not  to  mention  other  Latin  offices,  compofe  mafles?  and 
of  thefe  there  are  three  at  leaft  of  Bird's  adually  in  print,  one  for 
three,  another  for  four,  and  another  for  five  voices. 

The  woFk  herein  before  fpoken  of,  entitled  'Cantiones,  qua5  ab  ar- 

•  gumento  facras  vocantur,  quinq-ue  et  fex  partium,  Autoribus  Thoma 

•  Tallifio  et  Guilielmo  Birdo,'  London  1575,  oblong  quarto,  was 
compofed  by  Bird,  in  conjundion  with  Tallis,  and  feems  to  be  the 
earlieft  of  his  publications,  though  he  muft  at  that  time  have  been 
fomewhat  advanced  in  yearss  He  alfo  compofed  a  work  of  the  fame 
kind  entitled  *  Sacrarum  Cantionum,  quinque  vocum,'  printed  in 
1.589,  among  which  is  that  noble  compolition  *  Civitas  fandi  tui,' 
which  for  many  years  pafl  has  been  fung  in  the  church  as  an  anthem 
to  the  words  *  Bow  thine  ear,  O  Lord.* 

Befides  thefe  he  was  the  author  of  a  work  entitled  *  Gradualia,  ac 

•  Cantiones  facr^,  quinis,  quaternis  trinifquevocibus  concinnatiB.  lib. 

•  primus.  Authore  Gulielmo  Byrde,  Organirta  regio  Anglo.'     Of  this' 
there  are  two  editions,  the  latter  publiflied  in  1 610. 

In  the  dedication  of  this  work  to  Henry  Howard,  earl  of  Nor- 
thampton, the  author  teftifies  his  gratitude  to  that  nobleman  for 
the  part  he  had  taken  in  procuring  for  him  and  his  fellows  in  the 
royal  chapel  an  increafe  of  falary.    His  words  are  thefe  :   *  Te  fuafore 

•  ac  rogatore,  fereniffimus  rex  (exemplo  pofl  regis  Edouardi  tertii 

•  atatem  inauditoj    me   fociofqj  meos,  qui  ipfius  majeftati  in  mu- 

*  ficis^ 


286  HISTORY    OF    THE    SCIENCE       Book  II. 

<  ficis    deferuimus,    nouis    auxit   beneficiis,    &    flipendiorum     in- 

<  crementis  *. 

The  contents  of  this  firft  book  of  the  Gradualia  are  antiphons,  hymns, 
and  other  offices,  in  the  Latin  tongue  for  the  feftivals,  that  is  to  fay. 
In  fefto  Purificationis,  In  fefto  omnium  fandorum,  In  fefto  corpo- 
ris Chrifti,  In  fefto  nativitatis  beats  Marias  Virginis,  and  others, 
probably  compofed  during  the  reign  of  queen  Mary. 

Another  collection  of  the  like  fort,  and  by  the  fame  author,  was 
publi(hed  by  him  in  the  fame  year  1610,  with  this  title,  '  Gradualia, 
*  feu  cantionum  facrarum  :  quarum  alije  ad  quatuor,  alise  vero  ad  quin- 
«  que  et  fex  voces  edits  font.* 

Thefe,  with  the  maifes  above-mentioned,  after  a  careful  enquiry, 
feem  to  be  the  whole  of  thecompofitions  for  the  chutch,  publiihed  by 
Bird  himfelf,  and  that  he  (hould  think  it  proper  to  utter  them  in  the 
reign  of  lames  the  Firft,  and  at  a  time  when  the  church  had  reje(flcd 
thefe  and  numberlefs  other  offices  of  the  like  kind,  which  for- 
merly made  a  part  of  divine  fervice,  can  only  be  accounted  for  by 
that  difpofition  which  then  prevailed  in  the  public  to  receive  and  ad- 
mire whatever  had  the  fancftion  of  his  name. 

Although  it  appears  by  thefe  his  works  that  Bird  was  in  the  ftridl- 
cft  fenfe  a  church  mufician,  he  occafionally  gave  to  the  world  compo- 
fitions  of  a  fecular  kind  ;  and  he  fecms  to  be  the  firft  among  Englifh 
muficians  that  ever  made  an  effay  in  the  compofition  of  that  elegant 
fpecies  of  vocal  harmony  the  madrigal.  The  La  Verginella  of  Arioflo 
which  he  fet  in  that  form  for  five  voices,  being  the  moft  ancient  mu- 
fical  compofition  of  the  kind  to  be  met  with  in  the  works  of  Eng- 
liffi  authors. 

To  fpeak  of  his  compofitions  for  private  entertainment,  there  are 
extant  thefe  that  follow  : 

*  Songs  of  fandry  natures,  fome  of  grauitie,  and  others  of  myrth, 
*  fit  for  all  companies  and  voyces,  printed  in  1589/ 

*  This  pafTage  has  an  allufion  to  a  grant  of  James  I.  anno  1604,  after  a  long  and 
chargeable  fait,  with  the  furtherance  of  the  earl  of  Northampton,  and  other  honourable 
perfons,  whereby  the  ftipends  of  the  gentlemen  of  the  chapel  were  encreafed  from  thirty 
to  forty  pounds  per  annum,  and  the  allowance  for  the  twelve  children  from  fix-pence  to  ten 
pence  per  diem,  with  a  proportionable  increafe  of  falary  to  the  ferjeant,  the  two  yeomen, 
and  the  groom  of  the  veftry.  A  memorial  of  this  grant  is  entered  in  the  cheque-book  of 
the  chapel  royal,  with  an  anathema  upon  whofoever  fliall  take  out  the  leaf.  A  copy  of  the 
whole  verbatim  is  inferted  in  a  fubfequent  page  of  this  volume. 

*  Pfalmes. 


Chap.g.       AND    PRACTICE    OF    MUSIC.  287 

*  Pfalmes,  fonets,  and  fongs  of  fadnefs  and  pietie  made  into  mu- 

*  iicke  of  five  parts,  whereof  fome  of  them  going  abroad  among  di- 

*  vers  in  untrue  coppies,  are  here  truly  correded  j  and  th'  other  be- 
«  ing   fongs  very  rare  and  newly  compofed,  are  here  publifhed  for 

*  the  recreation  of  all  fuch  as  delight  in  muficke,  by  William  Byrd, 

*  one  of  the  Gent,  of  the  Queens  Majefties  royall  chappell.* 

The  laft  of  his  works  publifhed  by  himfelf  is  entitled  •  Pfalmes, 

*  Songs,  and  Sonets :  fome  folemne,  others  joyfull,  framed  to  the 

*  life  of  the  words,  fit  for  voyces  or  viols  of  3^  4,  5,  and  6  parts.* 
Lond.  161 1. 

Befides  thefe  he  was  the  author  of  many  compofitions  publiflied  in 
Golledions  made  by  other  perfons,  namely,  that  entitled  *  Parthenia, 

*  or  the  maiden -head  of  the  firfl  mufick  that  ever  was  printed  for 

*  the  virginalls,  compofed  by   three   famous  mafters  William  Byrd,. 

*  Dr.  John  Bull,  and  Orlando  Gibbons,  gentlemen  of  her  majefties 

*  chappell,'  in  which  are  three  lefTons  for  that  inftrument  of  his 
compofition.  In  the  printed  collecSions  of  fervices  and  anthems  pub- 
liflied  at  fundry  times,  namely,  thofe  of  Day  and  Barnard,  are  many 
compofed  by  him,  and  fcill  many  more  which  cxift  only  in  the  ma- 
nufcript  books  of  the  king*s  chapel,  the  cathedral,  and  collegiate 
churches  of  this  kingdom. 

That  he  was  an  admirable  organift  there  cannot  be  the  leafl  doubt :  a 
very  good  judge  of  mufic,  who  was  well  acquainted  with  him,  fays  that 

*  with  fingers  and  with  pen  he  had  not  his  peer  *  j'  and  we  need  but 
advert  to  his  compofitions  to  judge  of  his  (lyle  and  manner  of  playing 
on  that  noble  infcrument..  If  he  had,  as  the  paflTage  above-cited  feems 
to  indicate,  a  free  and  voluble  hand,  we  may  reafonably  conclude 
that  the  exercife  of  it  was  fufficiently  retrained  and  correded  by  his 
judgment ;  and  that  his  voluntaries  were  enriched  with  varied  mo-- 
tion,  lofty  fugues,  artful  fyncopations,  original  and  unexpeded  ca- 
dences, and,  in  fhort,  all  the  ornaments  of  figurate  defcant,  forming 
a  ftyle  folemn,  m^jefiic,  and  devout. 

His  mufic  for  the  virginals,  or,  as  we  fhould  now  fay,  his  leflbns 
for  the  harpfichord,  are  of  a  caft  proper  for  the  inftrument ;  and  as 
we  cannot  but  fuppofe  that  he  was  able  to  play  them  himfelf,  befpeak 
in  him  a  command  of  hand  beyond  what,  will  readily  be  conceived  of 
by  thofe  who  imagine,  as  is  the  truth  in  many  infiances,  that  the- 

*  Sec  the  verfes  of  John  Baldwin  in  a  fubfequent  page, 

powers^ 


288 


HISTORY   OF  THE   SCIENCE      Book  II. 


powers  of  execution,  as  v/ell  in  inftrumental  as  vocal  mufic,  have 
been  increafing  for  two  centuries  paft  even  to  this  day.  In  the  col- 
lection entitled  Parthenia  above-mentioned,  the  leflbns  of  Bird  are 
none  of  the  eafieft  ;  but  in  a  manufcript  collecftion,  confifting  foldy 
of  his  own  compofitions,  and  prefented  by  him  to  a  fcholar  of  his, 
the  lady  Nevil,  are  fome  as  difficult  to  execute  as  any  of  modern  times. 
In  this  coHedion  is  that  compofition  taken  notice  of  by  Dr.  Ward  in 
his  Life  of  Dr.  Bull,  entitled  *  Have  with  you  to  Walfingham*.' 

*  This  leflbn  is  mentioned  by  Dr,  "Ward,  as  being  in  a  manufcript  volume  in  the  li- 
brary of  Dr.  Pepufch,  the  contents  whereof  he  has  given  at  large;  in  that  collcflion  it 
fLands  the  firft,  and  is  called  only  Walfingham,  The  Do6tor  in  a  note  ftyles  it  '  As  I 
*  w^ent  to  Walfingham,'  and  fays,  without  vouching  any  authority,  that  this  tune  was  firft 
compofed  by  Bird  with  twenty-two  variations,  and  that  afterwards  thirty  others  were  added 
to  it  at  different  times  by  Dr.  Bull. 

Dr.  Ward  in  this  note  feems  to  confound  the  leflbn  with  the  tune  ;  for  it  is  more.|han 
probable  that  it  was  compofed  upon  the  ground  of  a  tune  to  aa  old  interlude  or  ball/d  in 
the  Pepy's  colle£lion  mentioned  by  Dr.  Percy  in  his  Reliquea  of  ancient  Englifh  Poetry, 
vol.  II.  pag.  giy  and  beginning  thus : 

*  As  I  went  to  Walfingham, 

*  To  the  fhrine  with  fpecde, 

*  Met  I  with  a  jolly  palmer 

*  In  a  pilgrime's  wcede. 

*'  Now  God  you  five  you  jol'y  palmer! 

"  Welcome  lady  gay, 
**  Oft  have  I  fued  to  thee  for  love, 

"  Oft  have  I  faid  you  nay." 

To  confirm  this  opinion  of  the  Dodor's  miflake,  it  may  be  obferved  that  many  of  Bird'i 
leflbus  were  compofed  on  old  grounds  or  popular  tunes  :  to  give  an  inftance  of  one  in  par- 
ticular, in  Lady  Nevil's  book  above-mentioned  is  a  leflbn  of  Bird,  intitled  Sellenger's, 
i.  e.  St.  Leger's  Round  ;  this  Sellenger's  Round  was  an  old  country  dance,  and  was  not 
quite  outof  knowledge  at  the  beginning  of  the  prefent  century,  there  being  perfons  now  liv- 
ing who  remember  it.  Morley  mentions  it  in  his  Introdu£lion,  pag.  1 18,  and  Taylor  the 
water-poet,  in  his  tra6l  entitled  *  The  world  runs  on  wheels.'  and  it  is  printed  in  a  collec- 
tion of  country- dances  publifhed  by  John  Playford  in  1679)  the  notes  of  it  are  as  follow  ^ 


I Miiii,.ii'iriTf|iTTTi|t>;g^iai 


,l|Tlt*l'l'hVlinTll.tl^ffrrtfr^t^teai 


^m 


atta 


m 


^ir^ 


M 


Bird's 


Chap.  9.       AND    PRACTICE    OF    MUSIC.  289 

But,  notwlthflanding  the  number  and  variety  of  Bird's  compofi- 
tjons,  the  mofl:  permanent  memorials  of  his  excellencies  are  his  mo- 
tets and  anthems,  to  which  may  be  added  a  fine  fervice  in  the  key  of 
D  with  the  minor  third,  the  firll;  compofition  in  Dr.  Boyce's  Cathe- 
dral Mufic,  vol.  III.  and  that  well  known  canon  of  his  *  Non  nobis 
•  Domine,'  concerning  which  in  this  place  it  is  neceflary  to  be  fome- 
what  particular. 

There  feems  to  be  a  difpute  between  us  and  the  Italians  whether 
the  canon  *  Non  nobis  Domine'  be  of  the  compofition  of  our  country- 
man Bird  or  of  Paleftrina.  That  it  has  long  been  depofited  in  the 
Vatican  library,  and  there  preferved  with  great  care,  has  been  con- 
fidently aflfertcd,  and  is  generally  believed  ;  and  that  the  opinion  of 
the  Italian  muficians  is  that  it  was  compofcd  byPaleflrina  may  becoU 
Tedted  from  this,  that  it  has  lately  been  wrought  into  a  concerto  in 
eight  parts,  and  publiflied  at  Amfterdam  in  the  name  of  Carlo  Ric- 
ciotti,  with  a  note  that  the  fubjedt  of  the  fugue  of  the  concerto  is  a 
canon  of  Paleftrina ;  and  that  fubjcdt  is  evidently  the  canon  above- 
mentioned  in  all  its  three  parts. 

Now  though  it  is  admitted  that  the  canon  *  Non  nobis  Domine'  does 
not  occur  among  any  of  the  works  of  Bird  above  enumerated,  and 
that  its  firft  publication  was  by  John  Hilton,  at  the  end  of  his  collec- 
tion of  Catches,  Rounds,  and  Canons,  printed  in  1652;  yet  there  feems 
to  be  evidence  more  than  equipollent  to  what  has  yet  been  produced  on 
the  other  fide  of  the  queftion,  that  he  and  he  only  was  the  author  of  it : 
in  fuch  a  cafe  as  this  tradition  muft  be  deemed  of  fome  weight,  it  is 
hard  to  conceive  that  a  falfehood  of  this  kind  could  ever  gain  credit, 
and  flill  harder  that  it  (hould  maintain  it^  ground  for  near  two  centuries. 
Dr.  Pepufch  in  his  Treatlfe  of  Harmony  has  exprefsly  afcribed  it  to  Bird, 
2nd  if  he  and  the  reft  of  the  world  concurred  in  believing  it  to  be  a  com- 
pofition of  his,  we  at  this  day,  without  any  fubftantial  evidence  to  the 
contrary,  can  hardly  be  juftified  in  doubting  whether  he  or  another 
was  the  author  of  it. 

From  the  nature  of  his  works  it  is  eafy  to  difcover  that  Bird  was  a 
man  of  a  grave  and  ferious  temper,  the  far  greater  part  of  them  being 

Bird's  leflon  called  Sellenger's  Round  above  mentioned  is  apparently  a  fet  of  variations 
on  the  country-dance  of  the  fame  name  ;  and  it  ifs  highly  probable  that  the  leffbn  *  As  I 
*■  went  to  Walfinghaoi,'  was  alfo  a  fet  of  variations  on  the  tune  of  fome  old  ballad  which 
had  thefe  for  its  initial  worda. 

Vol.  III.  P.p.  for. 


29®  HISTORY    OF    THE    SCIENCE       EookIL 

for  the  church  ;  and  as  to  the  reft,  they  are  in  general  as  he  terms 
them,  *  Pfalmes  and  fongs  of  fadnes  and  pietie.'  Neverthelefs  he 
could  upon  occafion  exercife  his  fancy  on  lighter  fubjedts,  but  never 
in  thecompofition  to  words  of  an  indecent  or  profane  import.  Twice 
in  hifi  life  it  feems  he  made  an  eflay  of  his  talent  for  light  mufic  in 
the  compofition  of  the  madrigals,  *  La  Verginella  e  fimile  un  rofa' 
and  *  This  fweet  and  merry  month  of  May'  :  *  of  the  former  of 
which  Peacham  fays  it  is  not  to  be  mended  by  the  beft  Italian  of 
them  all. 

There  is  extant  of  Bird  one,  and  one  only  ellay  in  that  kind  of 
compolition  which  tends  to  promote  mirth  and  good  fellowship  by 
drinking  and  fmging,  namely,  the  Round  or  Catch.  It  is  printed 
in  Hilton's  collection  ;  the  words  arc  *  Come  drink  with  me,'  &c. 

Morley  relates  that  Bird  and  mafter  Alfonfo,  [the  elder  Ferabofco] 
in  a  virtuous  contention,  as  he  terms  it,  in  love  betwixt  themfelves, 
made  upon  the  plain-fong  of  a  Mifcrere  each  to  the  number  of  forty 
ways,  and  that  they  could  have  made  infinite  more  at  their  pkafure. 
From  which  it  is  to  be  inferred  that  he  was  a  man  of  an  amiable  dif- 
pofjtion,  and  that  between  him  and  his  competitor  [Ferabofco]  there 
was  none  of  that  envy  which  fometimes  fubfifts  between  the  profcf- 
fors  of  the  fame  art,  and  which,  as  Morley  infinuates,  is  charge- 
able on  the  times  when  they  both  lived. 

The  teftimonies  to  the  merits  of  this  moft  excellent  mufician  are 
almoft  as  numerous  as  the  authors,  at  leaft  of  this  country,  who  have 
written  on  the  fcience  or  pradtice  of  mufic  fince  his  time.  In  the 
cheque-book  of  the  chapel  royal  he  is  called  the  father  of  mufic  5  and 
in  the  commendatory  verfes  before  the  fecond  part  of  the  Gradualia, 
'  Britannico  muficse  parenti.'     Morley  ftyles  him  *  his  louing  mafter 

*  neuer  without  reuerence  to  be  named  of  muficians ;'  and  Peacham 
afterts,  that  even  by  the  judgment  of  France  and  Italy  he  was  not  ex- 
celled by  the  muficians  of  either  of  thofe  countries.     Speaking  of 

*  Taken  from  the  Orlando  Furiofo,  canto  prixno.  The  firft  of  tbefe  madrigals  is  in 
five  parts,  and  is  printed  at  the  end  of  the  *  Pfalmes,  fonets,  and  fongs  of  fadnes  and 
pietie  j*  a  tranfl^tion  of  the  words  fitted  to  the  fame  notes,  may  be  feen  in  a  colleftion  en- 
titled •  Mufica  Tranfalpina ;'  the  other  madrigal  is  printed  in  a  collection  entitled  *  The 

*  firil  fett  of  Italian  madrigals  Englifiied  by  Thomas  Watfon,'  it  is  fet  both  in  five  and  fix 
parts.  In  the  title-page  of  the  latter  book  he  two  latter  madrigals  are  faid  to  be  compofed 
jifter  '  the  Italian  vaine  at  the  requeft  of  the  fayd  Thomas  Watfon,' 

his 


Chap.9-       AND    PRACTICE    OF    MUSIC.  291 

his  Cantlones  facroB  and  Gradualia,  he  fays,  what  all  muft  allow  who 
{hall  peruTe  them,  that  they  are  angelical  and  divine  3  and  of  the  ma- 
drigal La  Verginella,  and  fome  other  compofitions  in  the  fame  fet, 
that  they  cannot  be  mended  by  the  beft  Italian  of  them  all. 

Befides  his  falaries  and  other  emoluments  of  his  profeflion,  it  is  to 
be  fuppofed  that  Bird  derived  fome  advantages  from  the  patent  grant- 
ed by  queen  Elizabeth  to  Tallis  and  him,  for  the  fole  printing  of 
mulic  and  mufic  paper  :  Dr.  Ward  fpeaks  of  a  book  which  he  had 
feen  with  the  letters  T.  E.  for  Thomas  Eaft,  Eft,  or  Efte,  for  he 
fpelt  his  name  in  all  of  thefe  three  ways,  who  printed  mufic  under 
that  patent. 

Tallis  died  in  1585,  and  the  patent,  by  the  terms  of  it,  furvived 
to  Bird,  who,  no  doubt  for  a  valuable  confideration,  permitted  Eaft  to 
exercife  the  right  of  printing  under  the  protedtion  of  it :  and  he  in 
the  title-page  of  moft  of  his  publications  ftyles  himfelf  the  aftignee  of 
William  Byrd.  This  patent  granted  for  twenty-one  years  expired  in 
1595;  and  afterwards  another,  containing  a  power  to  feize  muftc. 
books  and  mufic  paper  was  granted  to  Morley. 

The  mufic  printed  under  this  patent  was  in  general  given  to  the- 
WQrld  in  a  very  elegant  form,  for  the  initial  letters  of  the  feveral  fongs 
were  finely  ornamented  with  fanciful  devices ;  every  page  had  an 
ornamented  border,  and  the  notes,  the  heads  whereof  were  in  the 
form  of  a  lozenge,  were  well  cut,  and  to  a  remarkable  degree  legible. 

Wood  feems  to  have  erred  in  afcribing  to  Bird  an  admired  compo- 
fition  in  forty  parts,  which  he  fays  is  not  extant.  Compofitions  in 
forty  parts  are  not  very  common  ;  there  is  one  of  Tallis,  of  which 
an  account  has  been  given  in  a  preceding  page,  and  is  probably  the 
compofition  alluded  to  by  Wood,  who  feems  to  have  been  guilty  of 
a  very  excufabje  miftake  of  one  eminent  mufician  for  another. 

In  a  manufcript  coiledtion  of  motets,  madrigals,  fantazias,  and  other 
mufical  compofitions  of  fundry  authors,  in  the  hand-writing  of  one 
John  Baldwine,  a  finging-man  of  Windfor,  and  acompofer  himfelf, 
made  in  the  year  1 59 1 ,  are  many  of  the  motets  of  Bird  in  fcore.  The 
book  is  a  fingular  curiofity,  as  well  on  account  of  its  contents,  as  of 
certain  verfes  at  the  end,  compofed  by  Baldwine  himfelf,  in-  which 
the  authors  whofe  works  he  had  been  at  the  pains  of  colleding,  are- 
feverally  charadterifed.  The  verfes  are  very  homely,  but  the  eulo- 
giujp  on  Bird  is  fo  laboured,  and  befpeaks  fo  loudly  the  elihuation  in 

which. 


292  HISTORY    OF    THE    SCIENCE      Book II. 

which  he  was  held,  as  well  abroad  as  at  home,  that  the  infertion  of 
the  whole  will  hardly  be  thought  to  need  an  apology. 

Idtthe,  ][)crc,  "bt^oib  aiiti  fee  ail  tf^t  mnticm\0  Bee : 
tugat  i0  incMt)t  ijctcin,  tieclare  %  Uull  Begine* 

M  UotC'A)mttt  of  treafure  tftiiSf  fioojfte  map  lie  faietre 

of  ton$t0  mofir  ercclenrc  anb  tf^t  hctlt  t^at  i0  matie, 
coJlecteti  anti  cJjofcn  out  of  tlie  fieft  autouris? 

fiotid  tttariQct  anil  engUf^  fiorne,  tu^iel^c  fie  tl^e  Jieff  malfterif 
2Cnb  ^hilfulff  in  nniricftc,  tj^e  fcpencc  to  fctt  foortlje 

aj9f  (lercin  pou  fjall  finbe  if  pou  iuiU  fpralie  tfje  tnu8e» 
tScre  i^  Jiccc  no  fiatiti  fongc,  liut  tijc  fieft  can  fie  Jiabb. 

tjje  cljeefcft  from  ali  men  :  pea  tl&ere  i^  not  one  liiatJb, 
anb  fucl[j  ftoeet  mufiehe  a^  botfje  mucf)  tciict  pee!be 

Ijotl^c  unto  men  at  i|omc  anb  fitrbj^  abroabc  in  fieibc, 
tge  autorjef  for  to  name  3I  mape  not  Ijecc  forgctt, 

ijut  tDill  tfiem  ndta  boUJne  put  anb  ail  in  orbec  fett» 
5[  tDiU  liegine  iuitfj  toljite,  fgcppei:,  tpe,  anb  talli^ 

jrarfon^,  sple^,  munbie  tlj'oulbe  one  of  tlje  que cnejE?  paHi^ 
munbie  ponge,  tJj'oulbe  man^  fonne  anb  lihc  iupfe  otijer^  moe; 

tljere  name^  tuoulb  he  to  Jongc,  tljeccfoce  5J  let  tijiem  Qnt; 
f  et  muft  31  fpeafee  of  moe  euen  of  firainger^  alfo  : 

anb  firfte  g[  muft  isringe  in  alfonfo  fcra&ofco, 
3t  Kraingee  fiorne  ge  Vuasf  in  italic  a^  li  f|cre ; 

3|talian^  faie  of  Ijime  in  ^Itill  S^  liab  no  pcere* 
iuca  merenfio  mit^  otijcr-sf  manie  moe, 

a0  pWiVP  bemonte  tfte  emperour'^s?  man  alfo  ; 
^^nb  orianbo  &p  name  anb  ttht  crequiHion, 

cipnano  rore :  anb  alfo  anbreon. 
!^n  famoujsf  in  tljere  arte,  tjjere  i0  of  tfjat  no  boute ; 

tljere  iDorfec^  no  leffe  beciare  in  euecic  place  aboute 
ftt  ict  not  nrair.gergi  firagg,  nor  tfjep  tftcfefoe  commenbe  5 

for  tljep  mape  npiD  gcue  place  anb  fett  tfjemfdue^  ficSpnb 
^n  cngUlf'c  man  Ijp  name,  iBiHm  fiirbe  for  fji^  i^litll 

toJ&iclje  1  (Soulb  Ijaue  fctt  fird,  for  foe  it  ^a0  mp  toil! 
toljofc  grcate  ^Ml  anb  hnotolebgc  bot|:e  ejccelle  all  at  rlji^  tpme 

anb  far  to  firange  countriejef  al^roabc  6ij9f  ^tluli  botge  (f)pne : 


ehap.  9.       AND    PRACTICE    OF   MUSIC.  293 

famu^  men  be  afiroatic,  anb  ^hii(u\  in  tf^t  am, 

5[  tio  confclTe  tgc  fame  m\t>  m\\  not  from  it  (tattt; 
hut  in  etDropp  iiSf  none  iifte  to  our  cngliftie  man, 

tofiicfi  Dotfj  fo  farre  crccctic,  a^^  trulie  3!  it  fean^ 
ajSf  pe  cannot  finte  out  j^ii^  cquale  in  ail  tf^inQc^ 

tlbtoingtie  out  t Jie  toorltie  fo  tottie,  antr  fo  Jji^  fame  notd  rinje^v 
ll^itl^  fingeriSf  anti  tuitlj  penne  fie  8atf)e  not  noto  f^i^  pcetc; 

for  in  tgijBf  toorlti  fo  tnitie  i^  none  tan  gim  come  neere. 
t{|e  rarefe  man  Se  i^  in  mufichief  tuortjip  arte 

t^at  noto  on  eart^e  tiotfie  \im :  3t  fpcahe  it  from  mp  gartc 
or  Jeere  to  fore  ifiatfi  fieen  or  after  gim  fjall  come  : 

none  fucd  3[  fearc  ffian  rife  tftat  map  lie  calbe  fti^  fonne* 
#  famujS^  man  !  of  ^M\\  anti  iubgemente  greate  profounbe ; 

iett  iieauen  anb  eartft  ringe  out  tgp  toortgpe  jiraife  to  fotonbe  ♦ ; 
nep  Iett  tifjp  ^M\  it  felfe  ijjp  iuortfiie  fame  tecorbe 

to  aU  ponreretie  tldp  bue  befert  afforbe ; 
ann  Iett  tl&em  all  tDfjiefi  fjeereof  tgp  greate  ^hiKJ  tfien  faie 

fare  tnell,  fare  toeii  tfiou  prince  of  mufiche  noto  anb  ape ; 
fare  taeH  3[  Cap,  fare  toeil,  fare  toell  anb  ficre  g[  enb 

fare  todi  melobiou^sf  Iiirbe,  fare  tneli  ftDeet  muficftis?  frenbe : : 
ail  tljefe  tljing^  bo  5[  fpcalie  not  for  rctoarbeor  lirii&e; 

nor  pet  to  flatter  ftim  or  fett  Ijim  tpp  in  pribe, 
nor  for  affeccion  or  ouglit  migljt  moue  tijere  totDe; 
.     but  euen  tge  truti)  reporte  anb  tgat  mahe  hnolun  to  potDC. . 
lo  Ijcere  31  ^"^  faretoeil,  committinje  ail  to  gob, 

UjI)o  Itepe  u^  in  gi^  grace  anb  l{)iibe  u^  from  fji^sf  robb. 

f!ni^» —       3[o.  2B>albla3ine. 

The  two  following  motets,  the  one  printed  in  the  fecond  part  of 
the  Gradualia,  and  the  other  in  the  Cantiones  Sacra^,  are  evidences 
of  the  fkill  and  abilities  of  this  admirable  church  mufician. 

Of  the  latter  of  thefecompofitions  it  is  to  be  remarked  that  it  is  in  ■■ 
eight  parts,  that  is  to  fay,  Superius  primus  et  fecundus,  Contratenor 
primus  et  fecundus.  Tenor  primus  et  fecundus,  and  BafTus  primus  et 
fecundus  5  and  that  in  the  printed  book  each  of  thefe  eight  parts  is  - 
in  canon  of  two  in  one,  rede  et  retro*     The  whole  is,  in  the  judg- 
ment of  fome  of  the  ablefl  muficians  at  this  day  living,  a  mofl  Run  - 
pendous  contrivance. 

Vox.IIL  Q^q_ 


294  HISTORY   OF   THE   SCIENCE      Bookll. 


i 


^ 


^^1 


'  VE-NI   -  TH  ex-ul-to-mus  Po  -   mi- 


BFfF 


^ 


at:   -    Ki 


^^ 


no        ex— ul 


={ 


iYE  -    -  I^ 


I  -     -    TE 


^ 


i 


m 


^ 


VE 


Vc:r 


Q- s- 


^ 


Mil  ^-1 


i 


P 


-    TE 


c -ul-te-mus  Do  ,  —  mi- 


lo     Do     — 


^        —    mi 


t 


^ 


i 


^ 


i 


^ 


te     —    mus 


Do  _     mi 


^   _   no 


ve_      ^ni-—       — te 


i 


^ 


s;: 


K 


t 


* «  *       -» 


^ 


ex-ul-te-mus  Db-mi  -no 


ex-ul-te-mus  Domi  —  no 


ve  — 


i 


i 


i 


^ 


m 


VE  -      ^  NI   -      -TE 


ex-ul-te-mus   Do mi 


m 


-  >fi_ 


-    -     ^  TEI 


VE^    -    _  NI  - TE 


Chap,9-       AND    PRACTICE    OF    MUSIC.  295 


Ja-bi  '  le-mus     De-       o    Ju-bi-lcmus 


Q  q  2 


sg6  JI1ST0.RY  'OF    THE    SCIEKCE     Book  R. 


e 


m 


T~W 


i 


^ 


I 


De    ^    o 


J\\  -  b  i -le  mas    L*  •" 


:fe=?K 


Ju  -bi-lenurs 


i 


^ 


^ 


? 


Ja  -bi-lcmus    De    -     o     I 


S 


fii  -,  lu-ta-ri 


rr^^i 


W-^-0' 


^ 


:i<=^ 


e-o   Ju-bi -lemus        i3c  —  o       Ja-bi 


^ 


-lemus      I)e 


-  o       f  a  -  lu 


=P=^=^ 


^ 


gfF=^s 


Ju-bi 


De^ 


—    —     o 


Ei: 


# 


l)e   ^      o 


Ju  — bi-lc-nms    -Ce    ^    o 


icr 


? 


i^ 


Dc-o  Ju-bi-le-mus  De   ^o  De—        —        —     t> 


^ 


J^ 


P^ 


i 


^ 


fa  -  la  - ta  -  ri   no  s 


—    —      —  tro 


^^ 


'  '    I 


P 


tro     fii-lu 


-ta-ri   n-s^ 


—    tro 


fa^la 


fa-ic 


^— r- 


#-»- 


fa  -   lu-ta-ri 


tro     fa—  lu 


nos  —    ^     — 


-ta-ri    nos- 


-tro  fa 


tro 


^ 


E3t 


fa— iu-ta-ri 


i 


fa  —  Itt-ta-ri 


i 


nos  —    tro 


^ 


^ 


fa-      -lu-ta-ri    nos   —     —    tro 


m 


fa-lu  - 


Chap.  9o      AND    PRACTICE    OF    MUSIC. 


97 


ir^ 


V % 


^Pm     Q 


fa 


^i 


-    Itr 


i 


i 


i 


-  ta -ri     nos 


—    tro 


f  a  -    -    lu 


w^. 


i 


q      ■ 


^S 


^ 


±± 


-<  -  lu-  ta-ri 


nos    ^     tro 


fa^lu 


•ta— ri    nos  - 


-tro 


^ 


i 


te: 


^ 


^ 


:^ 


O        ^ 


no5  - 


^     tro 


fa  -lu  -,ta_ri 


nos -tro  fa 


iW== 


^ 


i 


£ 


m 


fa- 


lu  -  ta  -    ri 


nos    — 


—    tro 


£ 


fti-lu 


f  *  ^  JIJ  JJ*^ 


cJi-iTrn 


-       —     tro  fa-lu   _      ta    —      ri 


:■  5 


-  ta-ri  nos    •  — 


*   P        q    l«^#«   <t> 


m 


-ta-ri         nos 


tro 


proE 


^^ 


^ 


^ 


O      S 


-  ta- ri     nos 


^    tro 


priK-occa-rpe  •  -   moM^ 


1 


i 


^ 


u     » 


— r 
proe 


■< 


fa-       ^    lu- 


ta-ri  nos 


-      tro 


P3: 


^ 


^^^ 


tro 


-lu-ta  -ri 


nos       — 


m 


m 


m 


pr.»--'  t  cu 


XZt 


±± 


-ta-ri   nos- 


^     _      -      —       -       —  tro 


ffi 


m=^ 


-^ 


— I >-♦- 

-• ^ 


VlT 


S 


fa   —  lu  -  tu    -   ri  nos   —    —      —      —     tro 


298 


HISTORY  OF  THE  SCIENCE     BookIL 


m 


q        n 


i 


-*-*^ 


•     ri 


oc     -    cu 


^m 


-  pe    —    mus  j         fa-ci-cvij 


-     —    ■'trs 


^ 


^ 


i 


1^  I  'I 


fa  -ci-om 


^ 


P     »  ^ 


^ 


r<^-oc-»:U(-pe  —    —mus 


5 


oc     -     cu  !-  pe-mus    ta-jci-san     e-^us    pr<e-t>c-cu  -pe     -     mus 


4— 


^ 


^^ 


XjE 


E 


^ 


P- 


5 


g 


-  pe -  mus 


fa  -ci-em 


-     J 


us 


prae  -oc-cu  -  pe 


P 


■  *«i       -^^ 


5 


icr- 


priE 


_  o  c  ^    -  cu 


-pe-mus  fa- 


ci-er-i  e  — 


% 


^ 


i 


prae  —  oc   -      cu^pe  —  mus  fa  — 


m 


F^^ 


i 


^^ 


^ 


TjroB-oc  cu'-pe -mus   fa  -  ci-em  e 


^    r   fȣ: 


X3 


2^^^3 


E 


fa-ci-e^i 


e   -     ^ 


^ 


-     J 


us 


fa  -  ci-< 


i 


m 


f    m*  f 


I 


ip^ 


^ 


^ 


fa  -  c: 


I  ! 


i 


i^         ' 


<d^ 


^ 


^ 


-  mus  fa 


S 


-   ci-em     e  - 


-  J«s 


fa  -  ci 


em      e 


^ 


1 ^ 

fa- ci-em    e      ^ 


-    J 


us 


i 


^ 


i 


^^ 


rT'frr!^  j^' 


Vz^ 


-  cic*»-i  e 


J"' 


fa    -.      ci     J,     eai 


Chap.  9.      AND    PRACTICE    OF    MUSIC. 


299 


^^ 


i 


^ 


33: 


-  J" 


m*  con 


JF'^'W 


^ 


m 


ta 


e     -       — 


-  J« 


i 


3 


-   JUi 


in       cor  - 


i 


^ 


^ 


-J«s 


in        con-£ef  —   si 


-    —  o    _ 


S 


^ 


^ 


^ 


^ 


in 


fef-si  -  -  o       -        — 


S5 


db=t: 


^^ 


33: 


-     -  J«^ 


J«' 


'I'      'I : 


33: 


-  rel  -    SI 


—      o      — 


con 


5 


^ 


^TtR  q 


=F=f 


% 


3=?= 


m       con 


fef-  si  -   o 


-  ne 


-» — P: 


q       Q 


in 


3 


% 


J      -  fef-si  -    o       - 


—  ne 


in         con  -fef  -    si 


—      o    ^ 


3 


izzzi^ 


q     »n 


^ 


-    ne 


in    con -fef-  -  si 


^ 


P 


n 


-    ne 


in        con 


i 

in 


con-  fef-     ^i    ^ 


32: 


o     — 


»:t 


-    ne 


300 


HISTORY  OF  THE   SCIENCE     Bookll. 


^ 


^ 


1    'I  i^^C^ci 


m 


-  fef-si    -    o  —     ^      —  I     —     —    Be 


^ 


P 


con-feC-si 


-     o    —         —    ne 


Ju 


F=if 


:t=P- 


S& 


t^^-^ 


■^ 


-    ne 


e-; 


irv  jPfaimis 


Ja-  bl  -1 


e-mus    Ju 


m 


? 


^fi  I  ^  it'i' 


-o- 


{- 


-ne  in    conj-fef  —  si 


-      o      — 


^  lie 


yR=g 


^1 


-Q- 


^=± 


-  fef  -     si 


^     o    -      ;  —    ne 


Ja- bi  -  1 


i 


e  -mus 

• 


S 


i 


tt 


st         in    Pfivl-mis    Ja^bi-lc-mus    Ju  — 


^ 


O-    Q      • 


i 


P 


^ 


et        in 


Pfal 


Ju-bi-le 


^=^=A 


e — i- 


^ 


^ 


t    ■ 


-  bi-ie-mus    e   -       — 


iLfJ4-r 


^ 


-  bi  -  le-nau  s  e  _ 


-    i 


Q     a 


^ 


et    In 


Pfal  -mis 


Ju-bi-le 


Q— T- 


^t— i» 


^ 


i 


E 


^ 


^ 


-bi-le-anus         e   -       -       — 


et         in 


-.     1 


Pfal- mis    Ju-bi  -le 


Chap.9.      AND    PRACTICE    OF    MUSIC. 


301 


'  >'      -mus    Ju 


^=ifmn 


p 


bi  -le-mus  e      —       — 


-.    1 


^^ 


m 


5 


32: 


!^ 


i 


Ju 


-bi  -  le-inuS 


o  _       ^     ^ 


-    1 


Inr     ^ 


-• — » 


^ 


i 


et         In 


PHal-  mis 


^ 


^^SSS 


€» * 


m 


-mus    Ju -bi  -lejaius     c   -      ^ 


35 


F=« 


^ 


i 


1     e.^ 

— q-l»- 


—  —  1 


i 


^=^ 


-mus    Ju-bi  -  le-mas     e 


-       -  1 


et    in 


Pfal-  mis 


ffi 


i 


I 


*cr 


et         in    Pfal-mis 


inl       1+       ?I 


-QT-r 


i 


et        in 


Pfal  -  mis 


Ju  "      bi 


-le  —   nius 


et  in 


Pfal  -  mis 


XT 


^ 


•   ■• 


^ 


-^ 


m 


Ju  -  bi 

Q    « 


-    -  le 


—       —   n-.us  e—  — . 


-  i  Ju 


-bi-1 


e-mus 


^=3: 


P^ 


Ju  -  bi 


-  le    -   mus  e-    - 


-    -  1 


et         in 


m 


^=^ 


et        in 


I 


Pfid-  mis 


et 


i 


in 


3 


Pfal  -  mis 


e 


i 


^ 


33l 


Ju  -    —   —  Iri  -   le  .  -  muj 


i 


e  -     -     1 


Vol.  UK 


Ri- 


302  HIStORY  OF  THE   SCIENCE      Eookll. 


^^ 


¥^ 


XJztZ^ 


*=it 


m 


~  1 


e      —    — 


:5=g 


qj^-rfrip'^r 


—     —    1 


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XT 


..  '    '  '  i 

Jir  -  bilemas  J  u-bi-lcmu  s 


Pfal 


^ 


#-^ 


liiiir 


^ 


KZ 


r.Ci3t 


=*R*--c- 


5^ 


\ 


- — k- 


t 


~  bilcmus  Ju-  bi-lt'iniis 


P 


We^ 


» 'P    r 


Y=F 


d    P    q 


Pfal- 


ti»,      .      \ 


Ju-bi-lema|s    e   _       —        ^       - 

4- 


-  1 


^ 


Ju-ni 


^ 


libt 


P" 

—     i 


u^Ditcmas 


ffi 


E^ 


'^ 


-pat 


XT 


D" 

—       -    i 


et 


in     Pfal  -  inis    Ju  -  bil  emu  s 


't>    q    ^ 


^ 


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Chap.  p.      AND   PRACTICE   OF   MUSIC. 


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3P4  HISTORY  OF  THE   SCIENCE      BooklL 


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WILLIAM    BIRD 


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HISTORY   OF    THE   SCIENCE       Book  li 


CANON    RECTE     ET    RETRO 


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DI  -  Lil-GES  Do-mi  -num     De-  um  tu  -um     tu  *    nm 


Chap.  9.      AND    PRACTICE    OF    MUSIC. 


30? 


ex    to -to      COT  -de         tu     -      -     -   o 


& 


3o8  HISTORY   OF    THE    SCIENCE       Bookll. 


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Chap.  LO.     AND    PRACTICE    OF    MUSIC. 


309 


& 


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Vol.  III. 


S  s 


10 


HISTORY   OF   THE   SCIENCE      BooklL. 


M    'I      °    I    M  "     I    J     ■     .r 


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Clw.  ^o.     AND    PRACTICE    OF    MUSIC.  311 


-  cut   te    ip  -  fliin 


pro_rr-_xi  —  mtDU  ta-ura  li  — 


y^ 


312 


HISTORY    OF    THE    SCIENCE      Book  IX* 


/^ 


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Chap.  9^       AND    PRACTICE    OF    iMUSIC.  313- 


o     o. 


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3^4 


PIISTORY   OF   THE    SCIENCE      Book-H. 


^ 


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f  i  -  cut     te 


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te      ip  -  fum  te        ip     ^       ^      -    -  fum 

WILLIAM    BIRD 


JO.    AND    PRACTICE    OF    MUSIC.  315 


C     U     A     P.  X. 

ALfon.so  Ferabosco,  as  Dr.  Wilfon  ufed  to  fay,  was  born  of 
Italian  parents,  at  Greenwich  in  Kent.  He  never  arrived' 
to  any  academical  honours  in  the  faculty  of  mufic,  nor  does  it  ap- 
pear that  he  had  even  any  employment  in  the  royal  chapel,  or  about 
court,  neverthelefs  he  is  ranked  among  the  firft  muficians  of  Eliza- 
beth's time,  Morley  fays  that  in  a  virtuous  contention  betwixt 
them,  he  and  Bird  made  above  forty  waies,  as  he  terms  it,  upon  the 
plain-fong  of  a  certain  Miferere  j  and  Peacham  fpeaks  of  another  be- 
tween the  fame  perfons,  to  wit,  who  of  the  two  fhould  beft  fet  the 
words  of  a  certain  ditty,  «  The  Nightingale  fo  pleafant  and  fo  gay,* 
in  which  Ferabofco  fucceeded  fo  well,  that,  in  the  judgment  of  Peay 
cham  this  compofition,  as  alfo  another  of  his,  *  I  faw  my  lady  wecp- 
*  ing,'  for  five  voices,  cannot  be  bettered  for  fweetnefs  of  air  and  depth 
of  judgment^. 

He  had  a  fon-of  the  fame  Ghriftian  name,  who  for  that  reafon  is 
often  miftaken  for  his  father  j  he  was  the  author  of  a  book  with  this 
iimple  title,  *  Ayres  by  Alfonfo  Ferrabofco,'  printed  in  folio,   16095. 
with  the  following  commendatory  verfes  by  Ben  Johnfon. 

To  my  excellent  friend  Alfonfo  Ferrabofco. 

To  urge  my  lou'd  Alfonfo  that  bold  fame 

Of  building  townes  and  making  wild  hearts  tame 
Which  mufique  had  j  or  fpeak  her  known  effeds, . 

That  fhe  removeth  cares,  fadnefs  ejeds,  j 

Declineth  anger,  perfuades  clemency,  1 

Doth  fweeten  mirth  and  heighten  pietie,  ^ 

And  is't  a  body  often  ill  inclin'd. 

No  lefs  a  foueraign  cure  then  to  the  mind. 
T'  alledge  that  greateft  men  were  not  afham'd 

Of  old,  euen  by  her  practice  to  be  fam'd. 


*  Both  printed  in  the  Mufica  Tranfalpina,  publiflied  by  N.  Tongc  in  1588. 

To 


3i6  HISTORY    GF    THE    SCIENCE       Book  IL. 

To  fay  Indeed  (he  were  the  foul  of  heaven, 

That  the  eight  fphere,  no  lefs  than  planets  feauen. 
Mou'd  by  her  order,  and  the  ninth  more  high. 

Including  all  were  thence  call'd  harmony ; 
I  yet  had  utter'd  nothing  on  thy  part. 

When  thefe  were  but  the  praifes  of  the  art,. 
But  when  I  haue  faide  the  proofes  of  all  thefe  be 

Shed  in  thy  fongs,  'tis  true,  but  fliort  of  thee. 

Befides  thefe  verfes  there  are  prefixed  to  the  book  the  following  :: 

Mufick's  maifter  and  the  offspring 

Of  rich  mufick's  father. 
Old  Alfonfo's  image  lluing, 

Thefe  fair  flowers  you  gather 
Scatter  through  the  Britifli  foile  5. 

Give  thy  fame  free  wing, 
And  gaine  the  merit  of  thy  toylc. 

We  whofe  loues  affedl  to  praife  thee. 

Beyond  thine  own  deferts  can  neuer  raife  thee,-. 

By  T.  Campion,,  Dodlor  in  Phyficke  *. 

Befides  the  two  above-mentioned,  there  was  another  named  John, 
of  the  family  of  Ferabofco,  a  mufician  alfo,  as  appears  by  an  evening 
fervice  of  his  compofing  in  D,  w^ith  the  major  third,  well  known 
in  Canterbury  and  other  cathedrals  j  as  one  of  the  fame  furname  was 
formerly  organill  of  Ely  minfter,  it  is  not  improbable  but  that  the 
above  perfon  was  he.  A  few  years  ago  there  was  a  Moftyn  Ferabofco, 
a  lieutenant  in  the  royal  navy,  from  which  circumftance  it  is  very 
probable  that  the  family  is  yet  in  being.. 

*  Of  this  Thomas  Campion  Wood  fays,  Fafli,  vol.  I,  pag.  229,  that  he  was  an  admired 
poet  and  mufician  ;  there  is  extant  of  his  an  Art  of  Poefie  in  i2mo  ;  and  it  appears  that  he 
wrote  the  words  of  a  mafque  reprefented  in  the  banquetting  room  at  Whitehall  on  St.  Ste- 
phen's night,  1614,  on  occafion  of  the  marriage  cf  Carr  earl  of  Somerfet  and  the  lady 
Frances  Howard,  the  divorced  countefs  of  Eficx,  the  mufic  to  which  was  compofed  by 
Nicholas  Laniere,  John  Cooper,  or  Coperario,  as  he  affefted  to  call  himfelf,  and  others. 
One  of  that  name,  a  Dr.  Thomas  Campion,  fuppofed  to  be  the  fame  perfon,  v/as  the  author 
of  a  book  entitled  '  A  new  way  of  making  four  parts  in  counterpoint,'  and  of  another  en- 
titled '  The  art  of  fetting  or  compofing  mufic  in  parts  ;'  printed  at  the  end  of  Playford's 
lntrodu6lion,  the  fecond  edition,  1660,  with  annotations  by  Ghiiftopher  Simpfon. 

WlL^- 


Chap.  lo.     AND    PRACTICE    OF    MUSIC.  3»7 

William  Blitheman,  a  gentleman  of  queen  Elizabeth's  chapel, 
and  one  of  the  organifts  of  the  fame,  is  by  Wood  [Fafti,  anno  1586] 
celebrated  as  the  excellent  mafter  of  the  famous  Dr.  John  Bull,  He 
died  greatly  lamented  on  Whitfunday,  159T,  and  was  buried  in  the 
paViOi  chuFch  of  St.  Nicholas  Cole-Abbey  London.  The  following 
epitaph  was  engraven  on  a  brafs  plate  and  fixed  in  the  wall  of  the 
church,  but  being  deftroyed  in  the  fire  of  London,  it  is  now  only  to 
.be' found  in  Stow's  Survey*,  and  is  as  follows : 

^ttt  25!itUeman  \it0,  a  tttoctfjp  toig8t> 

toJjo  fcarcti  45oti  atioiic, 
311  fcienti  to  all,  a  foe  to  noHe, 

toljom  ricfj  anti  poore  tiiti  louc ; 
m  primed  cijappdl  gentleman 

unto  Ijijsf  tping  tiap, 
IDgomaU  toofee  great  tieUgfjtto  Scare 

pnontfjeorganisr  plap; 
|©ljofc  paffing  lefhiH  in  muricliejef  art 

a  fcljolar  left  ftefjintie, 
gojjn  55u!l  Bp  name,  W  mafter^  ueine 

exprcHing  in  caclj  hinbe ; 
$5ut  nothing  ^ere  continueier  long, 

nor  retting  place  tan  Banc, 
^i^  ionic  bepartcti  f^tntt  toljeaucn 
Ijiiaf  bolip  Ijere  in  graue. 

It  feems  that  as  a  muncian  Blitheman*s  performance  on  the  organ 
was  his  greateft  excellence.  Wood,  who  was  likely  to  have  known 
it,  had  he  been  a  compofer  for  the  church,  gives  not  the  leaft  hint  to 
favour  an  opinion  of  the  kind  i  in  (hort,  he  was  a  fingular  inftancc 
of  a  limited  talent  in  the  fcience  of  his  profeflion. 

•  Stow  in  the  fecond,  and  probably  in  the  firft  edition  of  his  Survey,  tnentions  that 
BHthrn,  an  excellent  orgnni'ft  of  the^ueen's  chapel,  '^X  ^"f  ^^^^aUo  V^'^'y] 
In  a  fubfequent  edition,  publilhedin  1633.  with  additions,  by  A.M.  CAnlhony  MundayJ 
«nd  others,  the  epitaph  as  above  is  mferted* 


JOHN 


i8 


HISTORY  OF  THE  SCIENCE     Bookll. 


JOHN      B  ITX,TL. 

MUS  .  DOOT.  CAISTTAB. 

INSTAUR.  OXOISr.  MDXCII 


l"^*-^^^     a7v  cfr>/^*ia^ -^a^/i^/i^  ^^i  M^    iyfue.<}^^ -ti^^oo/ ,  C'x^'?^-  . 


ccr^^ 


John  Bull  was  born  in  Somerfetfliir-e,  about  the  year  1563,  and^, 
as  it  is  faid,  was  of  the  Somerfet  family.  He  was  educated  undef 
Blitheman  before-named.  In  1586  he  was  admitted  at  Oxford  ta- 
the  degree  of  bachelor  of  mufic,  having  pra(5tifed  in  that  faculty 
fourteen  years  j  and  in  1592  was  created  do(5lor  in  the  univerfity  of 
Cambridge.  In  15^1  he  was  appointed  organifl  of  the  queen's  cha-- 
pel  in  the  room  of  his  mafter,  Blitheman. 

Bull  was  the  firft  Grefham  profeflbr  of  mufic,  and  was  appointed 
to  that  Nation  upon  the  fpccial  recommendation  of  queen  Ehzabeth, 

How* 


Chap.  10.     AND    PRACTICE    OF    MUSIC.  319 

However  fkilful  he  might  be  in  his  profefiion,  it  feems  that  he  was 
not  able  to  read  his  ledures  in  Latin  ;  and  therefore,  by  a  fpecial 
provifion  in  the  ordinances  refpedling  the  Grefham  profeflbrs,  made 
anno  1597,  it  is  declared,  that  becaufe  Dr.  Bull  is  recommended  to 
the  place  of  mufic  profelTor  by  the  queen's  moft  excellent  majefty, 
being  not  able  to  fpeak  Latin,  his  ledures  are  permitted  to  be  alto- 
gether Englidi,  fo  long  as  he  ihall  continue  mulic  profeflbr  there  *. 

In  the  year  1601  he  went  abroad  for  the  recovery  of  his  health, 
which  at  that  time  was  declining  ;  and  during  his  abfence  was  per- 
mitted to  fubftitute  as  his  deputy  a  fon  of  William  Bird  named  Tho- 
mas. He  travelled  incognito  into  France  and  Germany;  and  Wood 
takes  occafion  to  relate  a  ftory  of  him  while  abroad,  which  the  reader 
{hall  have  in  his  own  words. 

*   Dr.  Bull  hearing  of  a  famous  mufician  belonging  to  a  certain  ca- 

*  thedral  at  St.  Omer's,  he  applied  himfelf  as  a  novice,  to  him  to  learn 
«  fomething  of  his  faculty,  and  to  fee  and  admire  his  works.     This 

*  mufician,  after  fome  difcourfe.had  pafled  between  them,  conducft- 

*  ed  Bull  to  a  veftry  or  mufic-fchool  joining  to  the  cathedral,  and 

*  (hewed  to  him  a  lefTon  or  fong  of  forty  parts,  and  then  made  a  vaunt- 

*  ing  challenge  to  any  perfon  in  the  world  to  add  one  more  part  to 

*  them,  fuppofing  it  to  be  fo  complete  and  full  that  it  was  impofli- 

*  ble  for  any  mortal  man  to  correct  or  add  to  it  j  Bull  thereupon  de- 

*  firing  the  ufe  of  pen,  ink,  and  rul'd  paper,  fuch  as  wecall  mufical 
'  paper,  prayed  the  mufician  to  lock  him  up  in  the  faid  fchool  for 

*  two  or  three  hours;  which  being  done,  not  without  great  difdain 
«  by  the  mufician.   Bull  in  that  time  or  lefs,  added  forty  more  parts 

*  to  the  faid  leflbn  or  fong.  The  mufician  thereupon  being  called  in, 
'  he  viewed  it,  tried  it,  and  retried  it;  at  length  he  burfl  out  into  a 

*  great  extafy,   and  fwore  by  the  great  God  that  he  that  added  thofe 

*  forty  parts  muft  either  be  the  Devil  or  Dr.  Bull,  ficc.-f-  Whereupon 

*  Bull  making  himfelf  known,  the   mufician  fell  down  and  adored 

*  him.    Afterwards  continuing  there  and  in  thofe  parts  for  a  time,  he 

•  In  this  inftance  it  feems  that  the  queen's  afFe£llon  for  Bull  got  the  better  of  her  judg- 
ment, for  not  being  able  to  fpeak  Latin,  it  may  be  prefumed  that  he  was  unable  to  read 
it ;  and  if  fo,  he  muft  have  been  ignorant  of  the  very  principles  of  the  fcience,  and  confe- 
quently  but  very  indifferently  qualified  to  le<Slure  on  it  even  in  Englifli. 

t  An  exclamation  perhaps  fuggefted  by  the  recollection  of  that  of  Sir  Thomas  More, 
«  Aut  tu  es  Erafmus,  aut  Diabolus.' 

Vol.  in.  T  t  *  became 


320  HISTORY    OF    THE    SCIENCE     Bookll. 

*  became  fo  much  admired,  that  he  was  courted  to  accept  of  any 

*  place  or  preferment  fuitable  to  his  profeffion,  either  within  the  do- 

*  minions  of  the  emperor,  king  of  France,  or  Spain  ;  but  the  tidings 

*  of  thefe  tranfadtions  coming  to  the  Englifh  court,  queen  Elizabeth 
'commanded  him  home.*     Fafti,  anno  1586. 

Dr.  Ward,  who  has  given  the  Hfe  of  Dr.  Bull  in  his  Lives  of  the 
Grefliam  profeflbrs,  relates  that  upon  the  deceafe  of  queen  Elizabeth 
he  became  chief  organift  to  king  James  *,  and  had  the  honour  of  en- 
tertaining his  majefty  and  prince  Henry  at  Merchant  Taylors  halt 
with  his  performance  on  the  organ  ;  the  relation  is  curious,  and  is 
as  follows. 

•  July  the  16,  1607,  his  majefty  and  prince  Henry,  with  many  of  the 
'  nobility,   and  other  honourable  perfons,  dined  at  Merchant  Taylora 

*  hall,  it  being  the  eledion-day  of  their  mafter  and  wardens  j  when  the 

*  company's  roll  being  offered  to  his  majefly,  hefaidhe  was  already  free 

*  of  another  company,  but  that  the  prince  fliould  grace  them  with  the 
'  acceptance  of  his  freedom,  and  that  he  would  himfelf  fee  when  the 

*  garland  was  put  on  his  head,  which  v^as  done  accordingly.     During 

*  their  ftay  they  were  entertained  with  a  great  variety  of  mufic,  both 

*  voices  and  inftruments,  as  likewife  with  feveral  fpeeches.    And  while 

*  the  king  fat  at  dinner  Dr.  Bull  (who  as  Stov.^  fais)  v^-as  free  of  that 
«  company,  being  in  a  cittizen's  gowne,  cappe,  and  hood,  played  moft' 

*  excellent  melodie  uppon  a  fmall  payre  of  organs,  placed  there  for 

*  that  purpofe  onely.'  The  author  proceeds  to  relate  that  in  1613  Bull' 
quitted  England,   and  went  to  refide  in  the  Netherlands-f-,  where  he 

*  The  fa£l  is  that  he  fucceeded  Tallis,  and  was  fworn  in  his  room  Jan.  1585  [Cheque- 
hook]  he  was  alfo  in  the  fervice  of  prince  Henry  ;  the  name  John  Bull,  doO:or  of  mufic, 
itands  the  firft  in  the  lift  of  the  prince's  muficians  in  161 1,  with  a  falary  of  40I.  per  an- 
num.    Append,  to  the  L'tfe  of  Henry  Prince  of  Wales  by  Dr.  Birch. 

f  Dr.  'Ward  fuggeftsasthe  reafon  for  Bull's  retirement  that  the  fcience  began  to  (ink  in 
the  reign  of  king  Jarnes,  which  he  infers  from  that  want  of  court  patronage  which  it  feemS' 
induced  the  muficians  of  that  day  to  dedicate  their  works  to  one  another.  There  is  ibme 
truth  in  this  obfervation,  but  fee  the  next  note.  Morley  complains  of  the  lack  of  Mecae- 
nates  in  his  time,  for  notwithftanding  the  love  which  queen  Elizabeth  bore  to  mufic, 
the  profefTors  of  it  began  to  be  negle<Sled  even  in  her  reign.  John  Bofwell,  who  in  1572L 
publiflied  a  book  entitled  '  Workes  of  Armorie,' defcribing  a  coat-armourin  which  are  organ- 
pipes,  ufes  this  exclamation,  '  What  fay  I,  mufic  one  of  the  feuen  liberal  fciences  ;  it  is 

*  almoft  bnnifhed  the  rcaime.     If  it  were  not  the  queenes  majeily  that  did  fauour  that  ex- 

*  cellente  fcience,  finging-men  and  chorifters  might  go  a-begging,  together  with  their  maf- 

*  ter  the  player  on  the  organes.' 

As  to  finging-men  in  general,  not  to  fpeak  of  the  gentlemen  of  the  royal  chapel,  who 
appear  at  all  times  to  have  been  a  fet  of  decent  orderly  men,  and  many  of  them  exquifite 
artifts  in  their  profefTion,  they  fcem  to  have  had  but  little  claim  to  the  prote61:ion  of  their 
betters.     Dr.  Knight,  in  his  Life  of  Dean  Colet,  pag.  87,  reprefents  the  choirmen  about 

the 


Chap.  I  o.       AND    P'RAC'ffCE    OF    MUSIC.  321 

was  admitted  into  the  fervice  of  the-'archdt.ke.  Wood  ^-  fiys  that  h  > 
died  at  Hamburg,  or  rather,  as  others,  who  remembered  the  maii' 
have  laid,  at  Lubec. 

tttte^f  StAw/'n?"  vil"^^^^^  -  -^--^  -^--^  he  relates 

upon  the  heads  of  h^  ongreg4  o„  Vnd  CoX  '"'"'  '^^^C^  '"-"^^  ^  ^""^^^  ^^^'^ 
printed  in  his  Sylva,  has  theff  S :  ^' "'  '  P°'"'  °^  ^'^  '"^^^^"^  '  '^^'  ^^'^"^»^ 

*  From  finging- men's  religion,  who  are 

'  ^^^y;,^^  c,'^"'^^'  i"^  Hke  the  crows  'caufe  there  ' 
.  ■•  nt^y  build  themfelves  a  neft  ;  '■     ' 

c  w°T  ^°°  ''"'"^''  •'^''^'■y'  '''h'ch  ^"'"es 
WithjTold  in  nothing  but  its  Hnes, 

'  Free  O  ye  pow'rs  my  bread.' 

.  :jX:;tz  ^:f:^;i:  t^^z'^c'  'v  "t^-^  »■  -r '•  ^^"°^^>  "- 

;  .hem    for  ,hey  Jfcan.  .he.  U^^^  .L'n''ol'to*e"^'T7o;\"\r;;  l^:  \  t  ^.H^ 

:  fo  off  oil™  t  ZlT^'V^Tl  ''■"f  ""y  "^'  "^^f^'  ">^V  ove^fl^;  .'^eiH,tk; 
'  fervice    an  Uo  -^l.^fr-^  ^"'H'/  *<=y  ^f«P^  ^rreftinf;,  they  die  conftantly  i„  God's 

lervice,  and  to  take  their  death  With  mnrp  r^of;^,.^^    .k^„  u_-._-^^  •  ,      ,^         .    . 


iervice .  and  to  take  d.eir  ^^.i^^^i^^:.  ;:;^^ZX^^:^^^ 

in  ei?avs  and  ch^ai^^rs^^   "°f!i      '  Microcofmography,  or  a  piece  of  the  world  difcovere.l 
702,  \fcr"bed  t'^o  I>    L^F    ,    T^'^i^  '  ^T'n  '"  ^^■^^'  ^"^  '"  ^  ^ubfequent  edition  of 
fames  Ithn.ohvT       ^'"^''  '^^cceffively  bifliop  of  Worcefter  and  Salifbury. 
.nit  iT  ^  "1°^'  T  'PP'"'"  ^^^^  h^  underftood  or  loved  mufic,  ye    w-is  dif 

pofed  to  encou.:,;.e  it    for,  after  the  example  of  Charles  the  Ninth  of  Fr.n'c    who  h  d 

don  wt'arTfim'   r^  ?^'  5'  '^  '"•  '''''''  ^"^''^^  incorporated  the  m'.ficians  ^  I 
don,  who  are  Itill  a  fociety  and  corporation,  and  bear  for  their  arms  Azure  n  fwnn  Ar^rem 

JjoiDoio/  Zlf-^niT^  the  only  one  of  the  liberal  fclonces  that  conferred  the  de- 
chanTc   n^?s     ;ncr,nd^^^^^^^^^^  '"^P\^  upon  a  footing  with  the   lo.ed  of  the  me- 

fici  ns  of  the'  ci^v  of  r  ■  l  T'-'?  ?^,  '^'''  charter  the  honourable  fraternity  of  mu- 
J.c  ans  ot  the  city  of  London  derive  the  fole  and  ex-cIuHve  privilege  of  fiddlinjr  and  trnn- 

bad  He  wl  "f,  ;^°-''''^T^  to  complain  of  being  flighted  that  others  of  his-profeflion 
had.  He  was  n  the  fervice  ot  the  chapel,  and  at  the  head  of  the  p.  ince's  muHrians  •  in 
the  year  ,604  his  (a  ary  for  the  chapel  dutv  had  been  augmented.  The  circumft^nJe's  of 
his  departure  irom  lir.gland  may  be  cdleaed  fro.n  the  following  entry,  nowTbe  feen  'm 

'^  t  2  the 


322  HISTORY    OF    THE    SCIENCE       Book  II. 

A  pidlure  of  Dr.  Bull  Is  yet  remaining  in  the  mufic-fchool  at  Ox- 
ford. It  is  painted  on  a  board,  and  reprefents  him  in  the  habit  of  a 
bachelor  of  mufic.  On  the  left  fide  of  the  head  are  the  words  AN. 
AETATIS  SVAE  26.  1589;  and  on  the  right  fide  an  hour-glafs, 
upon  which  is  placed  an  human  fkull,  with  a  bone  crofs  the  mouth, 
round  the  four  fides  of  the  frame  is  written  the  following  homely 
diftich  :   . 

«  The  bull  by  force  in  field  doth  ralgne, 
*  But  Bull  by  fkill  good  will  doth  gayne.' 

The  only  works  of  Bull  in  print  are  lefi!bns  in  the  colledion  enti- 
tled *  Parthenia,  or  the  maiden-head  of  the  firfi:  mufic  that  ever  was 

*  printed  for  the  virginals,'  of  which  mention  has  already  been  made. 
An  anthem  of  his,  *  Deliver  me,  O  God,'  is  to  be  found  in  Barnard's 
Colledion  of  Church-mufic. 

Dr.  Ward  has  given  a  long  lift  of  compofitions  of  Dr.  Bull  in  ma- 
nufcript  in  the  coUedion  of  the  late  Dr.  Pepufch,  by  which  it  ap- 
pears that  he  was  equally  excellent  in  vocal  and  inftrumental  har- 
mony. By  fome  of  the  leflbns  in  the  Parthenia  it  feems  that  he  was 
pofiTefTed  of  a  power  of  execution  on  the  harpfichord  far  beyond  what 
is  generally  conceived  of  the  maflers  of  that  time.  As  to  his  lefi!bns> 
they  were,  in  the  eftimatlon  of  Dr.  Pepufch,  not  only  for  the  harmony 
and  contrivance,  but  for  air  and  modulation,  fo  excellent,  that  be 
fcrupled  not  to  prefer  them  to  thofe  of  Couperin,  Scarlatti,  and  others 
of  the  modern  compofers  for  the  harpfichord  *. 

the  cheque  book,  '1613  John  Bull,  doftor  of  mufic,  went  beyond  the  feas  without  licenfe, . 

*  and  was  admitted  into  the  arch  duke's  ferviee  and  entred  into  paie  there  about  iMich.  and 
»  Peter  Hopkins  a  bafe  from  Paul's  was  fworn  into  his  place  the  27th  of  Dec.  following : 

*  His  wages  from  Mich,  unto  the  daye  of  the  fwearing  of  the  faid  Peter  Hopkins  was  dif- 
'■  pofed  of  by  the  Deanc  of  his  majefly's  chapel.'     By  this  it  fhould  feem.that  Bull  was  not. 
only  one  of  the  organifts,  but  a  gentleman  of  the  chapel. 

*  This  is  a  fact  which  feveral  perfons  now  living  can  atteft,  together  with  the  follow- 
ing cuiious  p.irticulars.  The  doctor  had  in  his  coUedlion  a  book  of  leflbns  very  richly 
bound,  which  had  once  been  queen  Elizabeth's  ;  in  this  were  contained  many  leflbns  of 
Bull,  fo  very  difficult,  that  hardly  any  mafter  of  the  Dodor's  time  was  able  to  play  them. 
It  is  well  known  that  Dr.  Pepufch  married  the  famous  opera  finger  Signora  Margarita  De 
L'Pine,  who  had  a  very  fine  hand  on  the  harpfichord:  as  foon  as  they  were  married  the. 
Doflor  infpired  her  with  the  fame  fcntiments  of  Bull  as  he  himfelf  had  long  entertained, 
and  prevailed  on  her  to  pradife  his  leflbns,  in  which  fhe  fucceeded  fo  well,  as  to  excite- 
the  curiofity  of  numbers  to  refort  to  his  houfe  at  the  corner  of  Bartlett's-Buildings  in  Fet- 
ttr-Lane,  to  hear  her.  There  are  no  remaining  evidences  of  her  unwearied  application 
in  order  to  attain  that  degree  of  excellence  which  it  is  known  (he  arrived  at,  but  the  book 
itfelf  yet  in  being,  which  in  fome  parts  of  it  is  fo  difcoloured  by  continual  ufe,  as  todiftin- 
guifh  with  the  utmoil  degree  of  certainty  the  very  leflbns  with  which  Ihe  was  moft 
delighted.     One  of  them  took  up  twenty  minutes  to  go  through  it. 


3^3 

A 

GENERAL        HISTORY 

OF     THE 

SCIENCE       and      PRACTICE 

O   F 

M       us       I      C. 

BOOK     III.  C  HAP.      I. 

JOHN  DowLAND  the  famous  lutenift  was  born  in  1562,  and  ad- 
mitted to  his  bachelor's  degree  together  with  Morley.  [Wood 
Fafti  anno  1588*.]  The  fame  author  fays  that  he  was  the  rareft  mu- 
fician  that  his  age  did  behold,  which,  though  he  was  doubtlefs  an 
eminent  compofer,  is  not  fo  true  as  that  he  was  one  of  the  moft  ex- 
cellent lutenifts  of  his  time.  Mention  is  made  of  him  in  a  fonnet 
afcribed  to  Shakefpeare,  but  how  truly  we  cannot  fay.  It  is  entitled. 
Friendly  Concord,  and  is  as  follows  : 

If  muficke  and  fweet  poetry  agree,  , 

As  they  muft  needs  (the  fifter  and  the  brother) 
Then  muft  the  loue  be  great  twixt  thee  and  me, 
Becaufe  thou  lou'ft  the  one  and  I  the  other; 
Dowland  to  thee  is  deer,  whofe  heauenly  touch 
Upon  the  lute  doth  rauifh  human  fenfe  ; 
Spenfer  to  me,  whofe  deep  conceit  is  fuch, 
Aspaffing  all  conceit,  needs  no  defence  ; 
Thou  lou'ft  to  hear  the  fweet  melodious  found 
That  Phsbus'  lute  (the  queen  of  mufick)  makes 

*  Wood  fays  he  was  one  of  the  gentlemen  of  her  majefty's  chapel,  but  the  truth  of  this 
affertion  is  doubtful ;  for  he  docs  not  afliime  that  title  in  any  of  his  publications  :  on  the 
contrary,  he  complains  in  the  preface  to  his  Pilgrime's  Solace^  that  he  never  could  attain 
ttx-any  though  ever  fo  mean  a  place. 

•  And 


334  HISTORY   OF   THE   SCIENCE      Book  III. 

*  And  I  in  deep  delight  am  chiefly  drown'd, 
'   When  as  himfelf  to  finging  he  betakes : 
'  One  God  is  God  of  both,  as  poets  faine  ; 

*  One  knight  loues  both,  and  both  in  thee  remain  *.* 

Peacham,  who  was  intimate  with  him,  fays  that  he  had  flipped 
many  opportunities  of  advancing  himfelf,  in  allufion  to  which  his 
misfortune  he  gave  him  an  emblem  with  this  anagram, 

lOHANNES  DOVLANDUS 

Annos  ludendo  haufi. 

The  emblem  is  a  nightingale  flnging  in  the  winter  feafon  on  a  leaf- 
lefs  briar,  with  the  following  verfes : 

*  Heere  Philomel  in  filence  fits  alone, 

*  In  depth  of  winter,  on  the  bared  brier, 

'  Whereas  the  rofe  had  once  herbeautie  (howen, 

*  Which  lordes  and  ladies  did  fo  much  deflre : 

*  But  fruitlefs  now ;   in  winters  frofl:  and  fnow 

*  It  doth  defpis'd  and  unregarded  grow. 

*  So  fince  (old  frend)  thy  yeares  have  made  thee  white, 

*  And  thou  for  others  haft  confum'd  thy  fpring, 

*  How  few  regard  thee,  whome  thou  didft  delight, 

*  And  farre  and  neere  came  once  to  heare  thee  fing! 

*  Ingratefull  times,  and  worthies  age  of  ours, 

*  That  lets  us  pine  when  it  hath  cropt  our  flowers-f-.* 

That  Dowland  mifled  many  opportunities  of  advancing  his  for- 
tunes may  perhaps  be  juftly  attributed  to  a  rambling  difpofition, 
which  led  him  to  travel  abroad  and  negledl  his  duty  in  the  chapel  ; 
for  that  he  lived  much  abroad  appears  from  the  prefaces  to  his  works, 
publiilied  by  him  at  fundry  times,  and  thefe  furnifh  the  following 
particulars  of  his  life. 

*  From  the  Paflionate  Pilgrime  of  Shakefpeare,  firft  printed  in  1609,  and  Poems  writ- 
ten by  WIl.  Shakefpeare,  Gent.    i2mo.  1640. 

i   Garden  of  Heroical  Devifes  by  Henry  Peacham,  pag.  74. 

■  In 


Chap.  I.      AND    PRACTICE    OF    MUSIC.  325 

Tn  the  year  1584  he  travelled  the  chief  parts  of  France; 
thence  he  bent  his  courfe  towards  Germany,  where  he  was  kindly 
entertained  by  Henry  Julio,  duke  of  Brunfwick,  and  the  learned 
Maurice,  landgrave  of  HefTen,  the  fame  of  whom  Peacham  fpeaks, 
and  commends  as  being  himelf  an  excellent  mufician.  Here  he  became 
acquainted  with  Alellandro  Orologio,  a  mufician  of  great  eminence  in 
the  fervice  of  the  landgrave  Maurice,  and  Gregorio  Howet,  lutenift  to 
the  duke  of  Brunfwick.  Having  fpent  fome  months  in  Germany,  he 
pafled  over  the  Alps  into  Italy,  and  faw  Venice,  Padua,  Genoa,  Fer- 
rara,  Florence,  and  divers  other  places.  At  Venice  he  became  inti- 
mate with  Giovanni  Croce,  who,  as  he  relates,  was  at  that  time 
vice-mafter  of  the  chapel  of  St.  Mark.  It  does  not  appear  that  he  vi-- 
fited  Rome,  but  he  enjoyed  the  proffered  amity  of  Luca  Marenzio,- 
and  received  from  him  fundry  letters,  one  whereof  was  as  follows  : 

•  Multo  magniiico  Signior  mio  ofTervandiflimo,     Per  una  lettera  deli 

*  Signior  Maluezi  ho  intefo  quanto  con  cortefe  afFetto  fi  moftri  de(i- 

*  derofo  di  effermi  congionto  d'  amicitia,  doue  infinitaQiente  la  rin- 
V  gratio  di  quefto  fuo  buon'  animo,  offerendo  megli  all'  incontro  fe 
*,  in  alcuna  cofa  la  polTo  fervire,  poi  che  gli  meriti  delle  fue  infinite - 

*  viatii,  &  qualita  meritano  che  ogni.  uno  et  me  1'  ammirino  et  offer-- 

*  vino,  et  per  fine  di  queflo  le  bafcio  le   mani,     Di  Roma  a    13  di- 

*  Luglio  1595.  D.  v.  s.  Atfettionatiffimofervitore,  Luca  Marenzio.' 
All  thefe  particulars  are  contained  in  a  work  of  Dowland  entitled' 

*  The  firft  booke  of  Songes  or  Ayres  of  foure  Parts  with  Tablature  for 

*  the  Lute.'     In  a  fecond  book  of  Songs  or  Aires  by  Dowland  for  the 
lute  or  Orpherian,  with  the  viol  de  gamba,. printed  in  1600,  he  flyleS' 
himfelf  lutenifl:  to  the  king  of  Denmark;   to  this  book  is  prefixed  a 
dedication  to  the  celebrated  Lucy  countefs  of  Bedford,   dated  from- 
Helfingnoure  in  Denmark  the  firfl  of  June  1600. 

In  1603  he  publifhed  a  third  book  of*  Songes  or  Aires  to  Hng  to  • 

*  the  lute,  Orpharion,  or  Violls.*  Some  time  after  this,  but  in  what 
year  is  not  mentioned,  he  publiflied  a  work  with  this  title,  *  Lachri- 

*  ma?,  or  feaven  Teares  figured  in  feaven  pafiionate  Pauans,   with  di- 

*  vers  other  Pauans,  Galiards,  and  x^lmands,  fet  forth  for  the  Lute,. 

*  Viols,  or  Violons,  in  five  parts*.'    Thi^book is  dedicated  to  Anne,, 

*  This  it  feems  was  a  celebrated  work  :  it  is  alluded  to  in  a  comedy  of  Thomas  Middle- 
ton,  entitled  '  No  wit  like  a  woman's,'  in  which  a  fervant  tells  bad  news,  and  is  thus 
anfwered, 

*  Now  thou  plaieft  Dowland's  Lachrym^e  to  thy  mafler/ 

the 


326  HISTORY    OF    THE    SCIENCE       Book  III. 

the  queen  of  king  James  the  Firft,  and  fifter  of  Chrlftian  IV.  king  of 
Denmark.  In  the  epiftle  the  author  tells  her  that  haftening  his  re- 
turn to  her  brother  and  his  mafter,  he  was  by  contrary  v/inds  and 
frofl:,  forced  back  and  compelled  to  winter  in  England,  during  his 
ftay  wherein,  he  had  prefumed  to  dedicate  to  her  hands  a  work  that 
was  begun  where  (he  was  born,  and  ended  where  fhe  reigned. 

In  1609  Dowland  publifhed  a  tranflation  of  the  Micrologus  of 
Andreas  Ornithoparcus  ;  at  this  time  it  feems  that  Dowland  had 
quitted  the  fervice  of  the  king  of  Denmark,  for  he  (lyles  himfelf  only 
lutenift,  lute-player,  and  bachelor  of  mufic  in  both  univerfities.  In 
]6i2  he  publiflied  a  book  entitled   *  A  Pilgrime's  Solace,  wherein  is 

*  contained  mufical  harmony  of  3,  4,   and   5  parts  to  be   fung   and 

*  plaid  with  lute  and  viols.*     In  the  title-page  he  ftyles  himfelf  lute- 
°  nift  to  the  Lord  Walden  *.    In  the  preface  to  this  book  he  fays  that  he 

had  received  a  kingly  entertainment  in  a  foreign  climate,  though  he 
could  not  attain  to  any,  though  never  fo  mean,  place  at  home.  He 
fays  that  fome  part  of  his  poor  labours  had  been  printed  in  eight  moft 
famous  cities  beyond  the  feas,  viz.  Paris,  Antwerpe,  Collein,  Nurem- 
burg,  Frankfort,  Liepfig,  Amfterdam,  and  Hamburge,  but  that  not- 
withftanding  he  had  found  flrange  entertainment  fince  his  return  by 
the  oppofition  of  two  forts  of  people,  the  firft  fimple  Cantors  or  vocal 
fingers,  the  fecond  young  men  profeflbrs  of  the  lute,  againft  whom 
he  vindicates  himfelf.  He  adds  that  he  is  entered  into  the  fiftieth  year 
of  his  age,  and  becaufe  he  wants  both  means,  leifure,  and  encourage- 
ment, recommends  to  the  learneder  fort  of  muficians,  who  labour 
under  no  fuch  difficulties,  the  defence  of  their  lute-profeffion. 

The  preface  of  Dowland  to  this  his  tranflation  of  Ornithoparcus  is 
dated  from  his  houfe  in  Fetter-lane,  the  tenth  of  April,  1609.  This 
is  the  laft  of  his  publications,  for  it  appears  that  he  died  in  1615. 

*  Wood  is  greatly  miftaken  in  the  account  which  he  gives  of  Dowlandj  whom  he  fup- 
pofes  to  have  been  taken  into  the  fervice  of  the  king  of  Denmark  in  1 606,  whereas  it  is  plain 
that  he  was  his  lutenlil  in  j  600,  and  probably  fomewhat  before ;  again,  there  is  nottheleaft 
reafon  to  fuppofe,  as  Wood  does,  that  he  died  in  Denmark,  for  he  was  in  England  in 
1612,  and  iutenift  to  Lord  Walden  ;  and  it  no  where  appears  that  after  this  he  went  abroad. 
He  might,  as  he  fays,  have  a  fon  n«med  Robert  trained  up  to  the  lute  at  the  charge  of 
Sir  Thomas  Monfon,  who  it  is  well  known  was  a  great  patron  of  mufic  ;  but  that  the  Pil- 
grim's Solace  was  compofed  by  him  and  not  by  his  father,  is  not  to  be  reconciled  to  the 
title,  the  dedication,  or  the  preface  to  the  book,  which  afford  the  bell  evidence  of  the  fa6t 
that  can  be  required.  It  may  not  be  improper  here  to  mention  that  the  king  of  Denmark 
had  begged  Dowland  of  James,  as  he  did  afterwards  Thomas  Cutting,  another  celebrated 
lutcnili;,  of  his  millrefs  the  lady  Arabella  Stuart. 

Peter 


Chap.  r.       AND    PRACTICE    OF    MUSIC.  327 

Peter  Phillips,  an  Englishman  by  birth,  betterknown  to  the  world 
by  the  Italian  name  Pietro  Philippi,  was  an  exquifite  compofer  of  vo- 
cal mufic  both  facred  and  profane.  He  ftyleshimfelf  Canonicus  Sog- 
nrenfis,  i.  e.  a  canon  of  Soigny,  a  city  or  town  in  Hainault,  and  was  be- 
fides  organifl  to  the  archduke  and  duchefs  of  Auftria,  Albert  and  Ifa- 
bella,  governors  of  the  Low  Countries.  Peacham  calls  him  our  rare 
countryman,  one  of  the  greateft  maflers  of  mufic  in  Europe,  adding, 
that  he  hath  fent  us  over  many  excellent  fongs,  as  well  motets  as  ma- 
drigals, and  that  he  affedteth  altogether  the  Italian  uein.  The  works 
publiflied  by  him,  befides  the  collection  of  madrigals  entitled  Melodia 
Olympica,  heretofore  mentioned,  are  Madrigali  a  8  voci,  in  410.  an. 
1599.  Cantiones  facras  5  vocum,  in  4to.  an.  1612.  Gemmuls  fa- 
era^  2  &  3  vocum,  in  4to.  an.  161 3.  Litaniaj  B.  M.  V.  in  Ecclefia 
Loretana  cani  folitae  4.  5.  9  vocum  in  4to.  an.  1623.  He  is  cele- 
brated  by  Draudius  in  his  Bibliotheca  Claffica. 

His  employments  and  the  nature  of  his  compofitions  for  the  church 
befpeak  him  to  have  been  of  the  Romifh  communion.  The  Can- 
tiones Sacrs  are  dedicated  to  the  Virgin  Mary  in  the  following  terms. 

«  Gloriofiffimae  Virgini  Mariae,  Dei  noftri  parenti  digniffimse,  ca;li, 
«•  terreque  regins,  angelorum,  hominum,  &  omnium  creaturarum  vi- 
*fibilium,  &  in  vifibilium  poft  Deum  Domins  :  in  honorem  ejus  fa- 
«  crffi   aedis  Afpricollis,  ubi  ad  D.  O.  M.  gloriam,   Chrifliani  populi 

*  confolationem,  &  falutem  ^   Catholics,  Apoftolics,  &  Romans  fidei 
«  confirmationem,  &  amplificationem  -,  cundtarum  hsrefum,  &  hsre- 

*  ticorum  extirpationem,  6c  confufionem,  per  potentiffimam  ejus  in- 

*  terventionem,  frequentiffima,  diviniffima,  &  exploratiffima  patrantur 
«  miracula,  hoc  facrarum  cantionum  opufculum  Petrus  Philippi  cum 

*  omni  humilitate  ofFert,  dicat  confecratque.' 

The  following  madrigal,  printed  in  the  Melodia  Olympica,  is  a£' 
the  compofition  of  Peter  Phillips.. 


Vol.  IITi-  U  u 


328 


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334 


HISTORY    OF    THE    SCIENCE      Ecok  HI. 


CHAP.  11. 


THOMAS  MoRLEY,  onc  of  the  gentlemen  of  queen  Elizabeth's 
chapel,  the  author  of  a  well  known  treatife  on  the  fubjedt  of 
praflical  mufic,  was  a  difciple  of  Bird,  for  whom  he  ever  entertained 
the  highefl  reverence.  He  obtained  a  bachelor's  degree  in  1588,  and 
was  fworn  into  his  place  in  the  chapel  July  24,  1592  ;  he  was  the  au- 
thor of  Canzonets  or  little  fhort  fongs  to  three  voices,  Lond.  1593.- 
The  firft  book  of  Madrigals  to  four  voices,  Lond.  1594.  Canzonets 
or  little  fhort  Aires  to  5  or  6  voices,  Lond.  1595.  Madrigals  to  5 
voices,  Lond.  1595.  Introduction  to  Mufic,  Lond.  1597.  The 
firfl:  book  of  Aires  or  little  fhort  Songes  to  fing  and  play  to  the  lute 
with  the  bafe  viol,  Lond.  1600.  And  the  firft  book  of  Canzonets  to 
two  voices,  Lond.  1595,  and  1619.  He  alfo  compofed  divine  fervices 
and  anthems,  the  words  of  fome  whereof  are  printed  in  James  Clif- 
ford's Colledion  of  divine  fervices  and  anthems  ufually  fung  in  cathe" 
drals*.  A  fervicefor  the  burial  of  the  dead  of  his  compofition,  the 
firfl:  of  the  kind,  to  the  words  of  our  liturgy,  is  printed  in  Dr.  Boyce's 
Cathedral  Mufic,  vol.  I.  He  alfo  colleded  and  publiflied  madrigals,, 
entitled  the  Triumphs  of  Oriana,  to  fiue  and  fix  voices,  compofed  by. 
diuers  authors,  Lond.  1601,  and  a  fet  or  two  of  Italian  madrigals  to 
Englifh  words  J  but  the  mofi:  valuable  of  all  his  works  is  his  Plaine: 
and  eafie  Introdudion  to  pra(fticall  Muficke,  fo  often  referred  to  in. 
the  courfe  of  this  work,  and  of  which  an  account  is  here  given. 

This  valuable  work  is  divided  into  three  parts,  the  firft  teaching  to 
fing  J  the  fecond  treating  of  Defcant,  with  the  method  of  finging  upon 
aplain-fongj  the  other  of  cotnpofition  in  three  and  more  parts.  Each 
of  the  three  parts  of  this  book  is  a  feveral  and  diftindl  dialogue,  where- 
in a  mafler,  his  fcholar,  and  a  perfon  competently  ikilled  in  mufic  are 
the  interlocutors ;  and  in  the  courfe  of  their  converfation  fo  many 
little  particulars  occur  relating  to  the  mannets  of  the  times,  as  rendeiP 
the  perufal   of  the  book  in  a  great  degree  entertaining  to  thofe  who 

*  This  book  is  very  frequently  referred  to  by  Wood.  It  is  a  colledion  of  the  words 
only,  of  the  fervices  and  anthems  then  ufually  fung,  printed  in  duodecimo,  1664.  The 
compiler  was  a  native  of  Oxford,  a  chorifter  of  Magdalen  college  there,  and  afterwards  a 
minor  canon  of  St.  Paul's,  and  reader  in  fome  church  irear  Carter  lane,  and  alfo  chaplain 
to  the  fociety  of  Serjeant's  Inn  in  Fleet- ftreet.     Athen.  Oxon. 

are 


Chap.  2.       AND    PRACTICE    OF    MUSIC.  335 

are  unacquainted  with  the  fubjedl  of  it ;  the  truth  of  this  obfervatlon 
will  appear  from  the  very  introdudion  to  the  work,  which  is  as 
follows : 

*  PoLYMATHES. 

*  Philomathes. 

*  Master. 

*  PoLYMATHES.  Stayc  brother  Philomathcs,  what  hafte  ?  Whi- 
ther go  you  fo  faft  ?  Philomath.  To  feek  out  an  old  friend  of 
mine.  Pol.  But  before  you  goe  I  praie  you  repeat  fome  of  the  dif- 
courfes  which  you  had  yefternight  at  Mafter  Sophobulus  his  ban- 
ket, for  commonly  he  is  not  without  both  wife  and  learned  gueftes. 
Phi.  It  is  true  indeed,  and  yefternight  there  were  a  number  of  ex- 
cellent fchollers,  both  gentlemen  and  others  :  but  all  the  propofe 
which  was  then  difcourfed  upon  was  muficke.  Pol.  I  trufl:  you 
were  contented  to  fuffer  others  to  fpeake  of  that  matter.  Phi.  I 
would  that  had  been  the  worft  j  for  I  was  compelled  to  difcover  mine 
own  ignorance,  and  confeffe  that  I  knewe  nothing  at  all  in  it.  Pol. 
How  fo  ?  Phi.  Among  the  reft  of  the  gueftes  by  chance  Mafter  A- 
phron  came  thither  alfo,  who  falling  to  difcourfe  of  muficke,  was  in 
an  argument  fo  quickly  taken  up  and  hotly  purfucd  by  Eudoxiis  and 
Calergus,  two  kinfmen  of  mafter  Sophobulus,  as  in  his  own  art  he 
was  overthrowne,  but  he  ftill  fticking  in  his  opinion,  the  two  gen- 
tlemen requefted  me  to  examine  his  reafons  and  confute  them,  but 
I  refuftng,  and  pretending  ignorance,  the  whole  company  condemn- 
ed me  of  difcurtefie,  being  fully  perfuaded  that  I  had  been  as  ikil- 
full  in  that  art  as  they  took  mee  to  be  learned  in  others  i  but  fup- 
per  being  ended,  and  muficke  bookes,  according  to  the  cuftome, 
being  brought  to  the  table,  the  miftrefs  of  the  houfe  prefented  mee 
With  a  part,  earneftly  requefting  me  to  fing,  but  when,  after  many 
excufes  I  protefted  unfainedly  that  I  could  not,  euerie  one  began  to 
wonder,  yea  fome  whifpered  to  others,  demaunding  how  I  was, 
brought  up  :  fo  that  upon  (hame  of  mine  ignorance  I  goe  nowe  tO; 
feek  out  mine  old  friende  mafter  Gnorlmus  to  make  myfelf  his  fchol- 
lar.  Pol.  I  am  glad  you  are  at  length  come  to  be  of  that  mind, 
tliough  I  wiflied  it  fooner,  therefore  goe,  and  I  praie  God  fend  you. 
fuch  good  fuccefl*e  as  you  would  wifli  to  yourfelf ;  as  for  me,  I  goe 
to  heare  fome  mathematical  ledures,  fo   that  I  thinke  about  one 

Vol,  HI.  X  X  *  time 


33^ 


HISTORY   OF   THE    SCIENCE     BookllT. 


time  wee  may  both  meete  at  our  lodging.     Phi.  Farewell,  for  I 
fit  upon  thornes  till  I  be  gone,  therefore  I  will  make  hafle  ;  but,  if 
I  be  not  deeeiued,  I  fee  him  whom  I  feeke  fitting  at  yonder  doore,  out 
of  doubt  it  is  hee.     And  it  fliould  feeme  he  ftudieth  upon  fome  point 
of  muficke,  but  I  will  drive  him  out  of  his  dumpe.     Good  morrow. 
Sir.    Master.  And  you  alfo  good  Mafler  Philomathes,  I  am  glad  to 
fee  you,  feeing  it  is  fo  long  a^go  fince  I  fawe  you,  that  I  thought 
you  had  either  been  dead,  or  then  had  uowed  perpetually  to  keep 
your  chamber  and  booke,  to  which   you  were  fo  much  addidcd. 
Phi.   Indeed  I  have  been  well  affeded  to  my  booke,   but  how  have 
you  done  fince  I  faw  you  ?     Mast.    My  health  fince  you  faw 
mce  hath  been  fo  badd  as,  if  it  had  been  the  pleafure  of  him  who 
made  all  things,  to  have  taken  me  out  of  the  world  I  fhould  haue 
been  very  well  contented,  and  have  wifhed  it  more  than  once  : 
but  what  bufinefs  hath  driuen  you  to  this  end  of  the  town  t    Phi- 
My  errand  is  to  you,  to  make  myfelf  your  fcholler  j  and  feeing  I  haue 
found  you  at  fuch  convenient  leifure,  I  am  determined  not  to  de- 
part till  I  have  one  lefi!bn  in  muficke.     Mast.  You  tell  mee  a  won- 
der, for  I  have  heard  you  fo  much  fpeake  againfl  that  art,  as  to* 
terme  it  a  corrupter  of  good  manners,  and  an  allurement  to  uices,, 
for  which  many  of  your  companions  termed  you  a  Stoic.  Phi.  It  is-, 
true,  but  I  am  fo  farre  changed  as  of  a  Stoic  I  would  willingly  make  a. 
Pythagorean ;  and  for  that  I  am  impatient  of  delay  I  praie  you  be* 
gin  even  now.     Mast.    With  a  good  will  j  but  haue  you  learned; 
nothing  at  all  in  mufic  before  ?     Phi.  Nothing.     Therefore  I  pray 
you  begin  at  the  uerie  beginning,  and  teach  me  as  though  I  were  a^ 
childe.     Mast.  I  will  do  fb,  and  therefore  behold  here  is  the  fcale- 
of  muficke  which  we  terme  the  Qam.'     [Giving  him  the  gamut 
with  the  fyllables.] 

The  mafter  then  proceeds  to  inftrud  his  fcholar  in  the  rudiments- 
o^f  fong,  in  the  doing  whereof  he  delivers  to  him  the  precepts  of  the. 
plain  and  menfurable  cantus,  illufi:rated  with  examples  in  notes,  to< 
fome  whereof,  for  the  greater  facility  of  utterance,  he  has  joined  the 
letters  of  the  alphabet,  and  thefe  are  introduced  by  a  diftich,  and  con-^ 
eluded  by  a  direction  to  begin  again  as  here  is  lliewn. 


Chafc*.     AND  PRACTICE   OP  MUSIC. 


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my  fpeede.inall  uertue  to  proceede,  A.  b.  c.  d.  e.  f.   g".      h.  -* 


* THe  pralftice  of  annexing  words  of  a  frivolous  import  to  notes,  for  the  afliftance  of  no- 
'vices  in  the  art  of  finging,  was  no  new  thing,  the  Monks  were  the  authors  of  it,  and  many 
of  the  examples  of  Glareanus  himfelf  are  either  Hebrew  names  oi  Latin  nonfcnfc,  fct  to 
▼cry  good  mufic  j  but  in  the  example  before  us  the  diftich 

Chrift's  crofs  be  my  fpeder 

In  ail  uertue  to  procede, 

• 
Bas  a  meaning  which  it  will  be  the  bufinefs  of  this  note  to  enquire  after. 

in  the  courfe  of  this  work  occafion  has  been  taken  to  mention  St.  Nicholas,  and  to  (hew 
that  by  thofe  of  the  Romifli  communion  he  is  looked  on  as  the  patron  of  young  fcholars. 
In  the  honvily  againft  peril  of  idolatry,  which  our  church  has  direfled  to  be  red  for  the 
inftru6lion  of  the  people,  is  a  very  particular  enumeration  of  thofe  faints,  who,  either  from 
a  fuppofed  power  to  heal  certain  difeafes,  or  to  confer  peculiar  graces,  or,  in  fhort,  fome 
way  or  other  to  favour  mankind,  were  the  moft  common  objefts  of  private  fupplication  ; 
the  paffage  referred  to  is  as  follows  : 

'  Euery  artificer  and  profefEon  hath  his  fpecial  faint  as  a  peculiar  God.     As  for  exam-* 
*  pie,  fchollars  have  Saint  Nicholas  and  Saint  Gregory.     Painters  Saint  Luke:  neither 
•lack  foldiers  their  Mars,  nor  louers  their  Venus  amongft  Chriftians.     All  difeafes  havc^^- 
«'their  fpecial  Saints  as  Gods  the  curers  of  them.     The  pox  Saint  Roche,  the  falling  euil  '• 
♦^  St.  Cornelis,  the  tooth  ache  St.  Appollin,  &c.  Neither  do  hearts  and  cattel  lack  their  godr- 
'-with  us,  for  Saint  Loy  is  the  horfelcach  [i.  e.  the  horfe-phyfician]  and  Saint  Anthony  thev 

X-X  a.  '  fwiil«%- 


338  HISTORY    OF    THE    SCIENCE       Book  IIL 

The  fecond  part  of  the  Introdudllon  of  Morley  is  a  treatife  of  Def-^ 
cant,  as  it  was  then  called  ;  the  meaning  of  the  term,  and  the  na- 
ture of  the  pradice  are  explained  in  the  following  colloquy. 

*  Master.  Whom  do  I  fee  afar  off,  is  it  not  my  fcholar  Philo- 
mathes  ?  out  of  doubt  it  is  he,  and  therefore  I  will  falute  him. 
Good  morrow  fchoUer,  Phi.  God  giue  you  good  morrow  and  a 
hundreth,  but  I  marvayle  not  a  little  to  fee  you  fo  early,  not  only 
(lirring,  but  out*of  doors  alfo.  Mast.  It  is  no  marvayle  to  fee  a 
fnayle  after  a  rayne  to  creep  out  of  his  (hell  and  wander  all  about 
feeking  the  moifture.  Phi.  i  pray  you  talk  not  fo  darkely,  but 
let  me  underftand  3;our  comparyfons  playnely.  Mast.  Then  in 
plaine  tearmes  being  over  wearied  with  {ludie,  and  taking  the  op- 
portunity of  the  fayre  morning,  1  came  to  this  place  to  fnatch  a 
mouthful  of  this  holfome  ayre,  which  gently  breathing  upon  thefe 
fweet-fmelling  flowers,  and  making  a  whifpering  noife  amongfl: 
thefe  tender  leaves  delighteth  with  refrefhing,  and  refrefheth  with 

fwineherd,  &c.  Where  is  God*s  prouidence  and  due  honour  in  the  mean  feafon  ?*** 
if  we  remember  God  fometimes,  yet  becaufe  we  doubt  of  his  ability  or  wilJ,  to  help 
us,  we  join  to  him  another  helper,  as  he  were  a  noun  adje6live,  ufing  thefe  fayingsi 
fuch  as  learn,  God  and  Saint  Nicholas  be  my  fpeed  :  fuch  as  neefe,  God  help  and  Saint 
John:   to  thehorfe,  God  and  Saint  Loy  faue  thee,  &c.' 

From  the  above  paflage  it  appears  that  anciently  '  God  and  Saint  Nicholas  be  my  fpede,' 
was  a  cuftomary  ejaculation  of  young  fcholars  ;  and  we  can  hardly  fuppofe  a  more  proper 
occafion  for  the  ufe  of  it  than  when  infants  of  tender  years  are  learning  the  rudiments  of 
literature.     It  is  therefore  not  improbable  that  the  diftich 

*  Saint  Nicholas  be  my  fpede 

•  In  all  uertue  to  ptocede.' 

might  be  the  introdudlon  to  the  alphabet,  and  might  be  conftantly  repeated  by  the  child 
previous  to  the  beginning  its  leflbn. 

The  alphabet  is  frequently  termed  the  Crifs-Crofs,  that  is  to  fay  Chrift's  crofs  row,  be* 
caufe  of  a  crofs  conftantly  placed  before  the  letter  A,  which  fign  was  anciently  a  direction 
to  the  child  to  crofs  itfelf  before  it  began  its  IcfTon,  as  it  is  now  in  the  mafs-book  for  the 
fame  a£lion  in  different  parts  of  the  fervlce. 

The  ufe  of  the  prayer  to  St.  Nicholas  may  well  be  luppofed  to  have  continued  amongfl 
us  until  the  pratlice  of  praying  to  faints  was  condemned  by  our  church  as  fuperftitious, 
which  it  vvas  fomewhat  before  Morley's  time ;  and  after  that,  as  our  reformers  had  thought 
proper  to  retain  the  ufe  of  the  fign  of  the  crofs  in  fome  few  inftances,  how  naturally  did 
this  variation  fuggeft  itfelf, 

Chrift's  crofs  be  my  fpede 
In  all  virtut  to  procede. 

which,  as  the  reformation  then  ftood,  might  well  enough  be  deemed  a  good  Proteftartt 
prayer.  .  .      • 

'  delight 


Chap,  2.       AND    PRACTICE    OF    MUSIC.  339 

delight  my  over  wearied  fenfes ;  but   tell  me  I  pray  you  the  caufc 
of  your  hither  coming  ;  have  you  not  forgotten  fome  part  of  that 
which  I  {hewed  you  at  our  lafl:  being  together.     Phi.    No  verily, 
but  the  contrary,  I  am  become  fuch  a  finger  as  you  would  wonder 
toheareme.     Mast.  How  came  that  to  pafle?     Phi.  Be  file nt, 
and  I  will  (hew  you  j  I  have  a  brother  a  good  fcholar  and  a  rea- 
fonable  mufition  for  finging,  he  at  my  firft  camming  to  you,  con- 
ceived an  opinion,  I  know  not  upon  what  reafons  grounded,  that 
I  ftiould   neuer  come  to  any  meane  knowledge  in  muficke,  and 
therefore  when  he  heard  me  pradice  alone  he  would  continually 
mock  me,  indeed  notwithftanding  reafon,  for  many  times  1  would 
fing  halfe  a  note  too  high,  other  while  as  much  too  lowe,  fo  that 
he  could  not  contain  himfelf  from  laughing  ;  yet  now  and  then  he 
would  fet  me  right,  more  to  let  mee  fee  that  he  could  doe  it,  there 
that  he  ment  any  '^ay  to  inftrud  me,  which  caufed  me  fo  diligent- 
ly to  apply  my  prickfong  booke,  that  in  a  manner  I  did  no  other 
thing   but  fing,  praftifing  to  fkip  from  one  key  to  another,   from 
flat  to  fharp,  from  fliarp  to  fiat,  from  any  one  place  in  the  fcale  to 
another,  fo  that  there  was  no  fong  fo  hard  but  I  would  uenturc 
upon   it,  no  mood,    nor   proportion  fo  flrange  but  I  would    go 
through  and  fing  perfedly  before  I  left  it ;  and  in  the  end  I  came  to 
fuch  perfedlion  that  I  might  haue  been  my  brother's  maifter,  for 
although  he  had   a  little  more  practice  to  fing  at  firfi:  fight  than  I 
had,  yet  for  the  moods,  ligatures,  and  other  fuch  things,  I  might 
fet  him  to  fchool.     Mast.   What  then  was  the  caufe  of  your  com- 
ming  hither  at  this  time  ?  Phi.  Defirc  to  learne  as  before.    Mast. 
What  would  you  now  learne.     Phi.  Beeing  this  lafl  daye  upon  oc- 
cafion  of  fome  bufinefie  at  one  of  my  friends  houfes,  we  had  fome 
fongs  fung,  afterwards  falling  to  difcourfe  of  muficke  and  mufitions, 
one  of  the  company  naming  a  friend  of  hisowne,  tearmed  him  the 
bed  Defcanter  that  was  to  be  found.     Now,  Sir,  I  am  at  this  time 
come  to  knowe  what  Defcant  is,  and  to  learne  the  fame.     Mast. 
I  thought  you  had  onely  fought  to  know  prickt  fong,  whereby  to 
recreate   yourfelf,  being  wearye  of  other  fiudies.     Phi.    Indeed 
whenl  came  to  you  firfl  I  was  of  that  min'de,  but  the  common  pro- 
uerb  is  in  me  uerified,  that  much  would  haue  more  ;  and  feeing  I 
haue  Co  far  fet  foot  in  mufic,  I  doe  not  meane  to  goe  backe  till  I 

X  X  ^  *  haue 


540  HISTORY   OF    THE    SCIENCE      Book  III. 

haue  gone  quite  through  all,  therefore  I  pray  you  now,  feeing  the 
time  and  place  fitteth  fo  well,  to  difcourfe  with  me  what  defcant  is, 
what  parts,  and  how  many  it  hath,  and  the  reft.  Mast.  The 
heate  increafeth,  and  that  which  you  demand  requireth  longer  dif- 
courfe than  you  looke  for,  let  us  therefore  go  and  fit  in  yonder  (ha- 
die  arbor  to  auoyde  the  uehementnefs  of  the  funne. — The  name  of 
Defcant  is  ufurped  of  the  mufitions  in  divers  figniiicatlons ;  fome 
time  they  take  it  for  the  whole  harmony  of  many  uoyces,  others 
fometlmes  for  one  of  the  uoyces  or  partes,  and  that  is  when  the 
whole  fong  is  not  paffing  three  uoyces.  Laft  of  all,  they  take  it 
for  finging  a  part  extempore  upon  a  playne  fong,  in  which  fenfe  we 
commonly  ufe  it  ;  fo  that  when  a  man  talketh  of  a  defcanter,  it 
muft  be  underftood  of  one  that  can  extempore  Cing  a  part  upon  a 
playne  fong.  Phi.  What  is  the  meane  to  fing  upon  a  playne  fong  ? 
Mast.  To  know  the  diftances  both  of  concords  and  difcordsV 
Phi.  What  is  a  concord?  Mast.  It  is  a  mixt  found, compad  of 
divers  uoyces,  Sec' 
Among  the  rules  for  extemporary  defcant,  which  are  in  truth  na 
other  than  the  precepts  of  mufical  compofition,  he  explains  the  na- 
ture of  that  kind  of  compofition  called  two  parts  in  one,  which,  as 
he  fays,  is  when  two  parts  are  fo  made  as  that  the  latter  fingeth  every 
note  and  reft  in  the  fame  length  and  order  as  the  leading  part  did  fing 
before.  From  hence  he  proceeds  to  declare  the  nature  of  canon 
flamed  to  a  given  plain-fong  ',  and  of  thefe  he  gives  fundKy  examples 
with  the  plain-fong  in  various  fituations,  that  is  to  fay,  fometimes 
above,  fometlmes  below,  and  at  other  times  in  the  midft  of  the 
canon. 

The  third  part  of  the  Introduction  treats  of  compofing  or  fetting  of 
fongs  'j  and  here  the  author  takes  occafion  to  cenfure  one  mafler 
Boulde,  an  ignorant  pretender  to  mufic  ;  and  he  does  it  in  this  way, 
he  fuppofes  Philomatbes  by  this  time  to  have  profited  fo  much  by  his 
mafter's  inftrudions  as  to  have  got  the  ftart  of  his  brother  Pclyma- 
tbes,  and  that  Polymathes,  who  is  fuppofed  to  have  learned  the  lit- 
tle he  knew  of  mufic  of  the  above  Mafler  Boulde,  beijjg  fenfible. 
of  this,  is  defirous  of  putting  himfelf  under  the  tuition  of  his  bro- 
ther's mafler,  the  mafler  tenders  him  a  plain-fong,  defiring  him  to 
fing  upon  it  a  lefTon  of  defcant,  which  he  does  but  very  indirFerently, 
the  faults  in  this  and  another  leflbn  or  two  which  Polymathes  fings,. 

draws- 


Chap.2.       AND    PRACTICE    OF    MUSIC.  34^ 

draws  on  a  difcourfe  between  him  and  his  new  mafter,  wherein  he  very 
humouroufly  charafterizes  his  former  mafter,  Boulde.  •  When,'  fays 
he,  *  I  learned  defcant  of  my  maifter  Boulde,  hee  feeing  me  fo  to- 

*  ward  and  willing  to  learne,  euer  had  me  in  his  company  -,  and  be- 

*  caufe  he  continually  carried  a  plaine  fong  booke  in  his  pocket,  hee 

*  caufed  me  to  doe  the  like,  and  fo  walking  in  the  fields  he  would  fing 

*  the  plainfong,  and  caufe  me  to  fing  the  defcant,  and  when  I  fung 

*  not  to  his  contentment  he  would  {hew  me  wherein  I  had  erred  ; 
'  there  was  alfo  another  defcanter,  a  companion  of  my  maifter's,  who 

*  neuer  came  in  my  maifter's  company,  though  they  were  much  con- 

*  uerfant  together,  but  they  fell  to  contention,  ftriuing  who  (hould 

*  bring  in  the  point  foonefland  make  hardefl:  proportions,  fo  that  they 

*  thought  they  had  won   great  glory  if  they  had  brought  in  a  point 

*  fooner  or  fung  harder  proportions  the  one  than  the  other  :   but  it 

*  was  a  worlde  to  heare  them  wrangle,  euerie  one  defending  his  owne 

*  for  the  beft.     What  faith  the  one  you  keepe  not  timiC  in  your  pro- 

*  portions;   you  fing  them  falfe,  faith  the  other;   what  proportion  is 

*  this  faith  hee,  Sefquipaltery  faith  the  other ;  nay,  would  the  other 
*.fay,  you  fing  you  know  not  what  j  it  fhould  feem  you  came  lately 

*  from  a  barber's  fhop,  where  you  had  Gregory  Walker  *  or  a  Cor- 

*  ranta  plaide  in  the  new  proportions  by  them  lately  found  out,  called' 

*  Sefquiblinda  and  Sefqui-hearken  after.     So  that  if  one  unacquainted 

*  with  muficke  had  ftood  in  a  corner  and  heard  them,  he  would  hauc 

*  A  note  in  the  original.     *  That  name  in  derifion  they  have  given  this  quadrant  Pa-' 

*  van  becaufe  it  ualketh  among  barbers  and  fidlers  more  common  than  any  other.' 

This  note  of  the  author  requires  explanation.  In  Morley's  time,  and  for  many  years 
after,  a  lute  or  viol,  or  fome  fuch  mufical  inftrument,  was  part  of  the  furniture  of  a  bar- 
ber's fhop,  which  was  ufed  then  to  be  frequented  by  perfons  above  the  ordinary  level  of 
the  people,  who  reforted  to  the  barber  either  for  the  cure  of  wounds,  or  to  undergo  fome 
chirurgical  operations,  or,  as  it  was  then  called,  to  be  trimmed,  a  word  that  fignified  ei- 
ther (having  or  cutting  and  curling  the  hair ;  thefe,  together  with  letting  blood,  were  the 
ancient  occupations  of  the  barber-furgeon.  As  to  the  other  important  branch  of  furgery, 
thefetting  of  fractured  limbs,  that  was  praftifed  by  another  clafs  of  men  called  bone-fet- 
■  ters,  of  whom  there  are  hardly  any  now  remaining.  Peacham,  in  his  account  of  Mau-* 
rice  landgrave  of  HeiTe  before  cited,  fays  he  was  generally  accounted  the  bell  bone-fetter- 
jh  his  country,  whence  it  appears  that  this  faculty  uas  fometimes  exercifcd  by  men  of  con- 
dition and  benevolent  tempers.  But  to  return  to  the  barber  :  the  muHcal  inftruments  in* 
Kis  fliop  were  for  the  entertainment  of  waiting  cuftomers,  and  anfwered  the  end  of  a  newf- 
paper.  At  this  day  thofe  who  wait  for  their  turn  at  the  barber's,  amufe  themfelves  with 
reading  the  news  of  the  day  or  week  ,  anciently  they  beguiled  the  time  with  playing  on  a 
mufical  inftrument,  which  cuilom  gave  occafion  to  Morley  to  fay  of  the  quadrant  Pavan 
mentioned  by  him,  that  it  was  fo  common. that  it  walked  amon^ft  the  barb<!rs. 

**  fworne: 


34i  HISTORY    OF    THE    SCIENCE       Book  III. 

<  fworne  they  had  been  out  of  their  wittes,  fo  earneftlle  did  they 
'  wrangle  for  a  trifle.     And  in  truth  I  myfelfe  thought  fometime  that 

*  they   would  haue  gone   to  round  buffets  with  the  matter,  for  the 

*  defcant  bookes  were  made  angels  *,  but  yet  fiftes  were  no  uifiters 

*  of  eares,  and   therefore  all    parted    friends.     But  to  fay  the  uerie 

*  truth,  this  Poliphemus  had  a  very  good  fight,  efpecialJie  for  treble 

*  defcant,  but  uerie  bad  utterance,  for  that  his  uoice  was  the  worft 

*  that  euer  I  had  heard  ;  and  though  of  others  he  were  efteemed  uerie 

*  good  in  that  kinde,  yet  did  none  thinke  better  of  him  then  hee  did 

*  of  himfelf ;  for  if  one  had  named  and  alked  his  opinion  of  the  heft 

*  compofers  lining  at  this  time,  hee  would  fay  in  a  uaine  glory  of  his 

*  own  fufticiencie  tu(h,  tufh,  for  thefe  were  his  words,  he  is  a  proper 

*  man,  but  he  is  no  defcanter,  there  is  no  ftuffe  in  him,  I  wil  not  giue 

*  two  pinnes  for  him  except  he  hath  defcant.* 

In  the  courfe  of  his  directions  for  compofing  and  fetting  of  fongs, 
Morley  takes  occafion  to  cenfure  Alfonfo  Ferabofco  and  Giovanni 
Croce  for  taking  perfed:  concords  of  one  kind  in  fucceffion,  a  practice 
which  he  loudly  condemns,  and  fays  of  Fairfax,  Taverner,  Shep- 
heard,  Mundy,  White,  Parfons,  and  Bird,  that  they  never  thought 
it  greater  facrilege  to  fpurn  againft  the  image  of  a  faint  than  to  take 
two  perfedl  chords  of  one  kind  together. 

Speaking  of  the  feveral  kinds  of  compofition  pradifed  in  his  time, 
Morley  gives  the  firft  place  to  the  motet  -f-. 

Next  to  the  motet  he  places  the  madrigal,  for  the  etymology  of 
which  word  he  fays  he  can  give  no  reafon  :j:.    He  fays  *  it  is  a  kind  of 

*  mufic  made  upon  fongs  and  fonnets,  fuch  as  Petrarch  and  many  other 

*  poets  have  excelled  in,  and  that  it  is,  next  unto  the  motet  the  moft 

*  artificial,  and,  to  men  of  underftanding,  moft  delightful  j  and  would 

*  not  be  fo  much  difallowable  if  the  poets  who  compofe  the  ditties 

*  would  abftain  from  fome  obfcenities  which  all  honeft  ears  abhor, 

*  and  from  fome  fuch  blafphemies  as  no  man,  at  leaft  who  hath  any 

*  hope  of  faluation,  can  fing  without  trembling.'  He  then  enumerates 
the  feveral  kinds  of  compofiiion  and  air  prad:ifed  by  the  muficians  of 
his  time,  mention  whereof  will  be  made  in  a  fubfequent  chapter. 

*  i.  c.  they  flew  about  their  ears  as  if  they  had  wings. 

■f  See  an  explanation  of  this  word  page  79  of  this  volume,  in  a  note. 

X  See  the  cqnjedlures  of  various  authors  concerning  it  "vol.  II.  pag.  463  in  a  note, 

It 


Oiap.  2.      AND    PRACTICE    OF    MUSIC.  343 

It  is  to  be  remembered  that  the  whole  of  this  work  of  Morley  is 
in  dialogue,  and  that  by  the  mailer,  who  is  one  of  the  interlocutors 
in  it,  he  means  to  reprefent  himfelf,  who  having  fufficiently  inftrud;- 
cd  his  fcholars  difmifTes  them. 

The  dialogue  being  ended  there  follows  what  the  author  calls  the 
Peroratio,  in  which  he  difcovers  much  learning;  in  it  he  fays  that 
had  it  not  been  for  Boetius  the  knowledge  of  mufic  had  not  yet  come 
into  our  weftern  part  of  the  world,  adding  this  as  a  reafon,  *  The 
«  Greek  tongue  lying  as  it  were   dead   under  the   barbarifme  of  the 

*  Gothes  and  Hunnes,  and  mulicke   buried   in   the   bowels   of  the 

*  Greeke  workes  of  Ptolomseus  and  Ariftoxenus  j  the  one  of  which  as 

•  yet  hath  neuer  come  to  light,  but   lies   in  written  copies  in   fome 

•  bibliothekes  of  Italie,  the  other  hath  beene  fet  out  in   print,  but 

♦  the  copies  are  euerie  where  fo  fcant  and  hard  to  come  by,  that  many 

•  doubt  if  he  haue  been  fet  out  or  no.* 

Next  follow  certain  eompofitions  of  the  author's  own  for  three, 
four,  and  five  voices,  to  Latin,  Italian,  and  EngHfli  words,  which 
have  great  merit. 

The  annotations  at  the  end  of  the  work  are  replete  with  curious 
learning  -,.  in  thefe  Morley  has  not  fpared  to  cenfure  fome  ignorant- 
pretenders  to  flcill  in  mufic,  and,  amongft  the  reft,  the  anonymous 
author  of  a  book  entitled  *  The  Guide  of  the  Path- Way  to  Mufic,' 
printed  in  1596,  in  oblong  quarto,  for  William  Barley,  a  great  pub- 
lifher  of  mufic  books  about  that  time,  of  which  he  gives  this  charac- 
ter.    *  Take  away  two  or  three  fcales  which  are  filched  out  of  Beur- 

•  hufius,  and  fill  up  the  three  firft  pages  of  the  booke,  you  (hall  not 

*  finde  one  fide  in  all  the  booke  without  fome  grofiTe  errour  or  other. 
^For  as  he  fetteth  down  his  dupla,  fo  dooth  he  all  his  proportions,- 

*  giuing  true  definitions  and  falfe  examples,  the  example  ftill  import-- 
'  ing  the  contrarie  to  that  which  was  faid  in  the  definition  -f.     But 

*  this  is  the  worlde ;  euery  one  will  take  upon  him  to  write  and  teach 

♦  others,  none  hauing  more  need  of  teaching  than  himfelfe.     And  as 

*  Frederic  Beurhusius  conre£tor  of  the  college  of  Dortmund,  an  Imperial  town 
in  the  circle  of  Weftphalia.  He  wrote  an  Erotemata  Muficae,  which  was  publiflicd  about 
the  year  1580. 

t  After  this  chara£ler  of  the  book  a  particular  account  of  its  contents  will  hardly  be 
wifhed  for ;  there  are  printed  with  it  three  books  of  tablature,  the  firft  for  the  lute,  the 
fecond  for  an  inftrument  called  the  Orpharion,  and  the  third  for  one  called  the  Bandore, 

con* 


344 


HISTORY    OF    THE    SCIENCE     Book  III. 


*  for  him  of  whom  we  have  fpoken  fo  much,  one  part  of  his  booke 

*  he  ftole  out  of  Beurhufius,   another  out  of  Loffius,  peruerting  the 

concerning  which  two  laft  it  may  not  be  amlfs  here  to  fpeak,  and  firft  of  the  Orpharion. 
Xt  is  of  the  following  form,  and  is  thus  defcribed  by  the  author : 

*  The  Orpharion  is  flrung  with  more  flringes 

*  than  the  lute,  and  alfo  hath  more  frets  or  flops  i 

*  and  whereas  the   lute  is   flrung   with   gut 

*  flringes,  the  Orpharion  is  flrung  with  wire 

*  flringes,  by  reafon  of  which  manner  of  ftring- 
'  ing,  the  Orpharion  doth  necefllirilie  require  a 
'  more  gentle  and  drawing  flroke  than  the  lute ; 

*  I  mean  the  fingers  of  the  right  hand  mufl  be 

*  eafilie  drawen  over  the  flringes,  and  not  fud- 
'  denly  griped  or  fharpelie  flroken  as  the  lute 
'  is,  for   if  yee   fhould  doo  fo,  then  the  wire 

*  flringes  would  clafh  or  jarre  together  the  one 
'  againfl  the  other,  which  would  be  a  caufe  that 

*  the   founde  would  be  harfh  and  unpleafant. 

*  Therefore  it  is  meete  that  you  obferue  the  dif- 

*  ference  of  the  flroke.     And  concerning  the 

*  frets  or  floppes,  the  difference  doth  confift  in 
i  the  different  number  that  is  between  them,  for 

*  thelutehaih  no  farther  than  i,  and  the  Orpha- 

*  rion  hath  to  q  ;  but  it  is  feklom  that  any  lef- 

*  fon  for  the  Orpharion  doth  palTe  the  flops  of 
'  L  or  M,  yet  thofe  that  are  cunning  can  at 

*  their  pleafure  make  ufe  of  all  the  flops/ 
Among  the  lefTons  contained  in  this  book  for 

the  Orpharion,  there  is  one  named  Bockington's 
Pound,  which  feems  to  be  no  other  than  that 
tune  now  called  Packington's  Pound,  and  to 
which  is  adapted  one  of  the  fongs  in  the  Beg- 
gar's Opera.  The  original  compofer  of  it  ap- 
pears to  be  one  Fiancis  Cutting. 


fenfc 


Chap.  2.      AND    PRACTICE    OF    M  tJ  S  I  C/'  345 

*  fenfe  of  Loffius  his  wordes,  and  giuing  examples  flatte  to  the  con- 

•  trarie  of  that  which  Loflius  faith.     And  the  laft  part  of  his  book 

As  to  the  Bandore,  the  figure  whereof  is  here  given,   the  author  fays  it  Is  cafy   to 

play  on,  and  is  both  commendable  and  fir,  ei- 
ther in  confort  or  alone.  He  adds  that  the  man* 
ner  of  tuning  doth  a  little  differ  from  the  lute 
and  orpharion,  but  he  has  forgot  to  mention 
whether  the  filings  are  of  wire,  like  thofe  of  the 
orpharion,  or  of  catgut  like  thofe  of  the  lute. 
This  inftrument  is  faid  by  Stowe  in  his  Anna!?, 
pag.  869,  to  have  been  invented  in  the  fourth 
year  of  queen  Elizabeth,  by  John  Rofe,  citizen 
of  London,  living  in  Bridewell. 

As  to  the  inftrument  called  the  Orpharion, 
above  defcribed,  it  is  neceffary  to  be  obferved 
that  it  cannot  be  the  fame  with  the  Orphiou, 
mentioned  in  the  poems  of  Sir  Afton  Cokaine  to 
have  been  invented  by  Thomas  Pilkington,  oirc 
of  the  queen's  muficians,  for  Pilkington  uas 
one  of  the  muficians  of  Henrietta  the  confoit  of 
Charles  I.  and  the  Orpharion  appears  to  be  of 
greater  antiquity. 

Pilkington  died  about  1660,  at  Wolverhamp- 
ton, aged  thirty-five,  and  lies  there  buried. 
Befides  an  epitaph.  Sir  Afton  Cokaine  wrote  & 
poem  to  his  memory,  in  which  arc  the  follow- 
ing quibling  lines. 

*  Maftring  all  mufic  that  was  known  before, 

*  He  did  invent  the  Orphion,  and  gave  more. 

*  Though  he  by  playing  had  acquir'd  high  fame, 

*  He  evermore  efcap'd  a  gamefter's  name, 

*  Yet  he  at  Gamut  frequent  was,  and  taught 

*  Many  to  play,  till  death  fet  his  Gam  out.* 

*  His  flats  were  all  harmonious ;  not  like  theirs 

*  Whofe  ebbs  in  profe  or  verfe  abufe  our  ears. 

*  But  to  what  end  pralfe  I  his  flats,  fince  that 

*  He  is  grown  one  himfclf,  and  now  lies  fi-ut !' 


Vol..  III. 


Yy 


«  trea^* 


346  HISTORY    OF    THE    SCIENCE     Book  III. 

*  treating  of  Defcant  he  took  uerbatim  out  of  an  old  written  booke 

*  which  I  have  ;  but  it  (hould  feeme  that  whatfoeuer  or  whofoeuer 

*  he  was  that  gaue  it  to  the  prefle,  was  not  the  author  of  it  himfelfe, 

*  elfe  would  he  haue  fet  his  name  to  it,  or  then  he  was  aftiamed  of 

*  his  labour.* 

In  the  annotations  on  the  fecond  part  of  Motley's  Introdu^ion  is 
the  following  curious  note  on  the  term  Defcant.     '  Thoughe  I  dare 

*  not  affirme  that  this  part  was  in  ufe  with  the  mufitions  of  thelearn- 

*  ed  Ptolemasus,  or  yet  of  that  of  Boetius,  yet  may  I  with  fome  reafon 

*  fay  that  it  is  more  auncient  than  prickfong,  and  only  by  reafon  of 

*  the  name,  which  is  contrapunto,  an  Italian  word  deuifed  fince  the 

*  Gothes  did  ouerrun  Italy,  and  changed  the  Latlne  tongue  Into  that 

*  barbarifme  which  they  now  ufe.     As  for  the  word  itfelfc,  it  was  at 

*  that  time  fit  enough  to  exprefle  the  thing  fignified,  becaufe  no  di- 

*  uerfity  of  notes  being  ufed,  the  muficians  inftead  of  notes  did  fet^ 

*  down  their  muficke  in  plain  prickes  or  points  j  but  afterwards,  that: 

*  cuftom  being  altered  by  the  diuerfitie  of  forms  of  notes,  yet  the 

*  name  is  retained  amongft  them  in  the  former  fignification,  though* 

*  amongfl:  us  it  be  retrained  from  the  generality  to  fignlfie  that  fpe- 
'  cies  or  kind  which  of  all  others  is  the  moft  fimple  and  plaine  y.  and; 

*  inftead  of  it  we  haue  ufurped  the  name  of  defcant.     Aifo  by  conti— 
'  nuance  of  time  that  name  is  alfo  degenerated  into  another  fignifica- 

*  .tion,  and  for  it  we  ufe  the  word  fetting  and  compofing  :  and  tO' 
'  come  to  the  matter  which  now  we  are  to  in  treat  of,  the  word  deC-- 

*  cant  fignifieth  in  our  tongue  the  forme  of  fetting  together  of  fundry 

*  uoices  or  concords  for  producing  harmony  j  and  a  mufician  if  he- 

*  heare  a  fong  fung  and  miflike  It,  he  will  fay,  the  defcant  Is  nought  j. 

*  but  in  this  fignification  iti&feldom  ufed,  and  the  common  fignifica- 

*  tion  which  it  hath  is  the  finging  extempore  upon  a  plain-fong,  in 

*  which  fenfe  there  is  none  who  hath  tafted  the  firft  elements  of  mu- 
'  ficke  but  underftandeth  it.     When  defcant  did  begin,  by  whom,, 

*  and  where  it  was  inuented  is  uncertaine  -,  for  it  is  a  great  contro-f 

*  uerfie  amongft  the  learned  if  it  were  knowne  to  the  aniiquitie  or  no. 

*  And  diuers  do  bring  arguments  to  proue,  and   others   to   difproue 

*  the  antiquity  of  it;  and  for  difprouing  of  it  they  fay  that  in  all  the 

*  works  of  them  who  have   written  of  muficke  before  Franchinus, 

*  there  is  no  mention  of  any  more  parts  than  one,  and  that  if  any  did. 
'  finge  to  the  harpe,  which  was  their  moft  ufual  inftrument,  they  fung 

*  the 


Chap.  2.       AND    PRACTICE    OF    MUSIC.  347 

*  the  fame  which  they  plaied.  But  thofe  who  would  affirme  that  the 
'  auncients  knew  it,  faie  :  That  if  they  did  not  know  it,  to  what  eod 
«  ferued  all  thofe  long  and  tedibas  difcourfes  and  difputations  of  the 

*  confonantes,  wherein  the  moft  part  of  their  workes  are  confumed  ^ 

*  But  whether  they  knew  it  or  not,  this  I  will  fay,  that  they  had  it  not 

*  in  halfe  that  uariety  wherein  we  now  haue  it,  though  we  read  of 

*  much  more  ftrange  efFedls  of  their  muficke  than  of  ours  *.' 

At  the  end  of  his  book  is  the  following  lift  of  Englifh  muficlans;. 
the  far  greater  part  of  whom  appear  to  have  flourilhed  before  the 
reformation. 


M.  Pafhe. 
Robert  Jones, 
Jo.  Dunftable. 
Leonel  Power. 
Robert  OrweL 
M.  Wilkinfon. 
Jo.  Gwinneth; 
'Robert  Dauis.. 
M.  Ri%. 
D.  Far  fax. 
D.  Kirby. 
Morgan  Grig^ 
Tho.  Afhwell. 
M.  Sturton* 
Jacket. 
Corbrand. 
Teftwood. 
Ungle. 
Beechi 
Bramfton. 


S.  Jo.  Mafon^. 
Ludford. 
Farding. 
Gornifh. 

Pyggot. 

Tauerner. 
Redford, 
Hodges. 
Selby. 
Thome. 
Oclande. 
Auerie. 
D.  Tye. 
D.  Cooper. 
D.  Newton i 
M.  Tallis. 
M.  White. 
M.  Perfons* 
M.  Byrde. 


*"It  feems  by  the  coiKlufion  of  this  paflage  th^t  Morley  was  but  little  acquainted  witk' 
the  effeiSis  of  modern  mufic,  for  there  is  extant  a  relation  to  this  purpofe  that  furpafles  aU 
accounts  of  the  power  of  ancient  mufic  over  the  human  mind.     It  is  this  :  a  mufician  of 
Ericus  king  of  Denmark,  furnnmed  the  Good,  who  reigned  about  the  year  1 130,  a  bun- 
deed  fears  after  the  time  of  Guide,  having  given  out  that  he  was  able  by  hisart  to  drive  ' 
men  into  what  afFedions  he  lifted,  even  into  anger  and  fury,  and  being  required  by  the 
king  to  put  his  fltill  in  praQice,  played  fo  upon  the  harp  that  his  auditors  began  firft  to  be 
moved,  and  at  laft  he  fet  the  king  into  fuch  a  frr.ntic  mood,  that  in  a  rage  he  fell  upon  his 
«iofl;  trufty  friends,  and,  for  lack  of  weapon,  flew  fome  of  them  with  his  fift,  which  when 
he  came  to  himfelf  he  did  much  lament.     This  flory  is  recorded  at  large  both  by  Krant- 
zius  and  Saxo  Grammaticus,  and  is  cited  by  BuUet  in  hi»  treatifc.  on  the  Principles  of ' 
Mufic,  p?g,.  7. 


348        his'tory  of  the   science     Booklir, 

t'ttigy  the  compofr^ions  of  Fairfax,  Cornifh,  Tavcrner,  and  Thorne, 
"already  given,  a  judgmen't  may  be  formed  of  the  ftate  of  mufic  in 
thofe  days.  It  appears  that  many  of  the  old  Enghfh  muficians  were 
inen  of  learning  in  other  faculties,  particularly  in  aftronomy  and  phy- 
ilc,  and  what  is  (Irange,  in  logic.  Thorne  of  York  lies  buried  in  the 
cathedral  of  that -city,  with  the  following  infcription  : 

IHtt  l-j^ctfy  Z^oxm,  nmticmx  mofi  patltt  in  f^i^  art, 
gjn  %oQith0  iorc  U^rio  tiiti  cxtcU ;  a\i  tec  it)|jo  fct  apart : 
Wi)ott  lief  anti  conbcrfarion  titb  ail  mcn'^  Jobc  aUurc, 
^nti  noU)  tiorl[)  reign  abote  ti)c0kic^  in  jcp^  mc(i  firm  an^  a?urc» 
31^{)«5  tiicti  5^cccmlJ,  7.  1573. 

And  in  the  fame  church  is  an  infcription  of  the  like  import,  cele- 
bratino-  the  memory  of  another  of  his  profeffion  in  thefe  words  ; 

aguricujSf  ct  logicii^  ll^prnal  iyic  jacct  tcct  giogannc^ 
Organa  namquc  quafi  fccerat  ilk  loqnU 

Thus  humouroufly  tranflated  : 

Mufician  and  logician  both, 

John  Wyrnal  lieth  here; 
Who  made  the  organs  erft  to  fpeak 

As  if,  or  as  it  were. 


CHAP.         III. 


T 


*^HE  foregoing  account  may  fuffice  to  fhew  the  defign  and  me- 
thod of  Morley's  Introduction  to  Mufic,  a  work  for  which  all 
who  love  or  pradice  the  fcience  are  under  the  higheft  obligations  to 
its  author.  John  Cafpar  Troft,  organift  of  the  church  of  St.  Martin 
at  Halberfladt,  a  learned  mufician  of  the  laft  century,  tranflated  it 
into  the  German  language,  and  publiOied  it  in  folio,  with  the  title 
of  Mufica  Pradlca. 

The  particulars  of  Morley's  life  are  no  otherwife  to  be  collected 
than  from  a  few  fcattered  notes  concerning  him  in  the  Athene  Oxo- 

nienfes. 


Chap.  3.       AND    PRACTICE    OF    MUSIC.  349 

nienfes,  and  from  his  own  work,  throughout  which  he  fpeaks  the 
language  of  a  fenfible,  a  learned,  and  a  pious  man,  a  little  foured  in 
his  temper  by  bodily  infirmities,  and  more  by  the  envy  of  fome  of 
his  own  profeffion,  of  which  he  complains  in  very  feeling  terms  in 
the  preface  to  almoft:  every  one  of  his  publications.  In  that  before 
his  Introduaion  he  fpeaks  of  the  folltary  life  which  he  led,  being 
compelled  to  keep  at  home,  and  that  made  him  glad  to  find  any  thing 
wheyein  to  keep  himfelf  exercifed  for  the  benefit  of  his  country  :  and 
i«  the  courfe  of  his  work  he  takes  frequent  occafion  to  mention  the 
declining  (late  of  his  health  at  the  time  of  his  writing  it  j  neverthelefs 
he  furvived  the  publication  of  it  fpme  years,  dying  as  it  feems  in  the 
^-ar  1604.     Doniy  in  his  *  KfcHorfo  fejjra  la  perfettione  de  Meio^a/ 

him  *  Tommafo  Morley,  crudito  mufico  Inglefe.' 

As  a  praaical  compofer  he  has  doubllefs  Hiewn  great  abilities  ;  he  ^ 
was  an  excellent  harmonift,  butdid  not  poffefs  the  faculty  of  invention  \ 
in  any  very  eminent  degree.    His  compofitions  feem  to  be  ti:ieefrea  of  ' 
clofe  ftudy  and  much  labour,  and  have  in  them  little  of  that  fweet  me- 
lody which  are  found  in  thofe  of  Bennct,  Weelkes,  Wilby,  Batefon,. 
and  fome  others;  nor  in  point  of  invention  and  fine  contrivance  are 
they  to  be  compared  with  thofe  of  either  Bird  or  Tallis.     He  com- 
pofed  a  folemn  burial  fervlce,  the  firft  perhaps  of  the  kind  ever  known 
in  England,  and  which  continued  to  be  performed  at  the  interment 
of  perfons  of  rank  till  it  gave  way  to  that  of  Purcell  and  Croft,  which 
will  hardly  ever  be  excelled. 

After  the  expiration  of  the  patent  granted  to  Tallis  and  Bird,  It 
feems  that  Morley  had  intereft  enough  to  obtain  of  queen  Elizabeth  a 
new  one  of  the  fame  tenor,  but  with  ampler  powers.  It  was  granted 
to  him  40  Eliz.  AnnoDom.  1598.  Under  this  patent  William  Bar- 
ley printed  moft  of  the  mufic  books  which  were  publifhed  during  the 
.time  that  it  continued  in  force. 

The  Oyle  of  Morley  may  be  judged  of  by  the  following  compofitlon, 
which  is  the  fourteenth   of  his  madrigals  to  four  voices,  publiaied. 
iii  1594, 


Vol.  HI.  Z  z^ 


350  HISTORY  OF  THE  SCIENCE     BookllL 


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Chap.  3.     AND    PRACTICE    OF    MUSIC.  351 


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352  HISTORY    OF    JTHE   SCIENCE      Book  II I, 


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Chap.  3.    AND    PRACTIC'E    OF    MUSIC. 


353 


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354  HISTORY    OF    THE    SCIENCE      Book  IIL 


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Chap.  3-       AND    PPvACTICE    OF    xM  U  S  I  C. 


355 


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tiiijzq?^ 


h H 


kifseme    then    fweetly  comekifseme    then  {wee tly  come  kirseine. 


r^  J   J  j  I J   r  '^ 


«        he  fweet— ly    comekifseme  then  fweetly  xjomekifie  me  then  fweet- 


i     • 


d  TTI      J  rJ d  J  ^^^ — tj 


fweet   —  -  _  1 J        come  kifse  me  then 


and 


^^ 


s 


■•-•- 


e   and   fhew    it. 


E 


then  and  fhew      it. 


i 


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ly  and  fhew     it. 


rr 


It. 


E 


fhew 


THOMAS  MORLEY. 


356  HISTORY   OF  THE   SCIENCE     BcokllL 

CHAP.  IV. 

WILLIAM  Bathe^  a  perfon  fcarce  known  to  the  world  as  a  wri- 
ter on  mufic,  was  neverthelefs  the  author  of  a  book  with  this^ 
title:  *  A  brief  introduction  to  the  true  art  of  muficke,  wherein  are  fet 

*  downe  exad  and  eafie  rules  for  fuch  as  feeke  but  to  know  the  trueth,, 

*  with  arguments  and  their  folutions^  for  fuch  as  feeke  alfo  to  knovv^- 

*  the  reafon  of  the  trueth  :  which  rules  be  meanes  whereby  any  by  his. 

*  owne  induftrie  may  {hortly,  eafily,  and  regularly  attaine  to  all  fuch 

*  thinges  as  to  this  arte  doe  belong  :  to  which  otherwife  any  can  hardly 

*  attaine  without  tedious  difficult  pradlife,  by  meanes  of  the  irregular 

*  order  now  ufed  in  teaching,  lately  fet  forth  by  William  Bathe,  {lu- 

*  dent  at  Oxenford.     Imprinted  at  London  by  Abel  Jeffes,  dwelling. 

*  in  Sermon  lane  neere  PaulesChaine,  anno  1584.'  Small  oblong  quar- 
to, black  letter. 

The  authors  of  the  Biographia  Britannica,  adding  their  own  la- 
borious refearches  to   a   few  memorials  in   the  Athen.  Oxon.  have 
given  a  much  mare  fatisfadory  account  than  could  be  expedled  of  this, 
obfcure  perfon,  for  his  name  does  not  once  occur  in  any  treatife  ex- 
tant on  the  fubjed  of  mufic.     The  account  they  give  of  him  is  that, 
he  was  born  in  Dublin  anno  1564 ;  that  he  was  defcended  from  a  con- 
fiderable  family,  who,  what  by  rebellions,  extravagance  of  heirs,  and^ 
other  misfortunes,   were   reduced   to  straight  circumftances.     They. 
fay  of  this  William  that  he  was  of  a  fullen  faturnine  temper,  and  dif- 
turbed  in  his  mind  that  his  family  was  fallen  from  its  ancient  fplen- 
dor  ;  that  he  was  educated  under  a  Popi/h  fchool-mafter,  but  removed' 
to  Oxford,  v^here  he  ftudied  feveral  years  with  indefatigable  induftry,, 
but  in  what  college,  or  whether  he  ever  attained  to  any  academical 
honours.  Wood  himfelf  could  never  learn.     That  growing  weary  of 
the  herefy,  as  he  ufually  called  the  proteftant  faith  profeffed  in  Eng- 
land, he  quitted  the  nation  and  his  religion  together,  and  in  the  year 
1596  was  initiated  among  the  Jefuits.      That  having  fpent  fome  time 
amongft  the  Jefuits  in  Flanders,  he  travelled  into  Italy,  and  complet- 
ed his  fludies  at  Padua,  from  whence  he  pafTed  into  Spain,  being  ap- 
pointed  to  govern  the  Irifh  feminary  at  Salamanca.     That  at  length, 
taking  a  journey  to  Madrid  to  tranfad:  fome  bufinefs  of  his  order,  he 
died  there  on  the  feventeenth  day  of  June,  16 14,  and  was  buried  in  the 

Jefuits 


Chsp.  4-       AND    PRACTICE    OF    MUSIC.  357 

Jefults  convent  of  that  city.  In  the  eftimatlon  of  his  brethren  he  was 
a  man  of  learning  ;  and  Wood  fays  of  him  that  he  had  a  mod  ardent 
zeal  for  the  gaining  of  fouls  j  and  that  though  of  a  temper  not  very 
fociable,  he  was  much  efteemed  by  thofe  of  his  own  perfuafion  for  his 
extraordinary  virtues  and  good  qualities.  He  was  the  author  of  feve- 
ral  books,  the  titles  whereof  are  given  In  the  Biographia  Britannica. 

His  Introdudion  to  Mufic  is  dedicated  to  his  uncle  Gerald  Fitz- 
gerald, earl  of  Kildare,  and  that  for  reafons  which  feem  to  betray 
fomewhat  of  that  faturnine  temper  above  afcribed  to  him,  for  in  it  he 
thus  exprefles  himfelf,  *  being  rhetorically  perfuaded  to  graunt  to  the 

*  publiHiing  thereof,  I  forbore  to  do  it  till  I  had  confidered  two  thinges, 

*  whereof  the  one  was  the  worthinefle  of  the  matter.    The  other,  the 

*  feedingof  the  common  affefllons.  But  for  the  worthlneire,  I  thought 

*  it  not  to  be  doubted,  feeing  heere  one  fet  forth  a  booke  of  a  hundred 

*  mery  tales*;  another  of  the  battaile  between  the  fpider  and  the  fly-f ; 

*  another  De  Pugnis  Porcorum  j  another  of  a  monfter  borne  at  London 

*  the  fecond  of  January,  bedded  lyke  a  horfe  and  bodied  lyke  a  man, 

*  with  other  fuch  lyke  fidlons  j   and  thinking  this  matter  then  fome 

*  of  thefe  to  be  more  worthy.     As  for  the  other,  which  is  to  feede 

*  the  common  affedlons  of  the  patient  learned,  I  doubt  not  but  it 

*  may  foon  be  ;  but  he  that  wil  take  in  hand  to  ferue  to  the  purpofe 

*  of  euery  petty  pratler,  may  as  foone  by  fprlnckling  water  fufficc  the 

*  drienes  of  the  earth,  as  bring  his  purpofe  to  paiTe.' 

The  preface  was  doubtlefs  intended  by  the  author  to  recommend 
his  book  to  the  reader's  perufal,  but  he  has  chofe  to  befpeak  his  good 
opinign  rather  by  decrying  the  ignorance  of  teachers,  and  the  method 
of  inflrudion  praflifed  by  them,  than  by  pointing  out  any  peculiar  ex- 
cellencies in  his  own  work.  He  fays  that  many  have  confumed  a  whole 
year  before  they  could  come  at  the  knowledge  of  long  only,  but  that 
he  had  taught  it  In  lefs  fpace  than  a  month. 

But  how  highly  foever  the  author  might  value  his  own  work,  he 
thought  proper  fome  years  after  the  firlt  publication  to  write  it  over 
again  in  fuch  fort,  as  hardly  to  retain  a  (ingle  paragraph  of  the  former 

*  The  author  here  means  a  tranllafion  Of  Les  Centes  Noirvelles  nonvelles,  which  is 
mentioned  by  Ames  to  have  been  printed  about  this  time.  The  original  was  publiHiedia 
1455,  by  Louis  XI.  of  France,  then  dauphin,  during  his  letreat  from  his  faiher's  court 
to  that  of  the  duke  of  Burgundy. 

t  The  Parable  of  the  Sr^ider  and  the  Fly,  quarto,  1556,  in  old  Englifli  verfe,  by  John' 
Hey  wood. 

Vol.  IIL  A  a  a  edi- 


358  HISTORY    OF    THE    SCIENCE     Booklll. 

edition.  This  latter  edition  was  printed  by  Thomas  Eile,  without  a 
date,  with  the  title  of  *  A  briefe  Introdudion  to  the  fkill  of  fong  r, 
'  concerning  the  pradice,  fet  forth  by  William  Bathe  gentleman.' 

And  here  again  the  author,  according  to  his  wonted  cuflom,  cen- 
fures  the  muficians  of  his  time,,  and  magnifies  the  efficacy  of  his  own: 
rules,  for  mark  the  modeily  of  his  preface. 

*  Olde  mufitions  laid  downe  for  fong,  manifold  and  crabbed  confufe- 

*  tedious  rules,  as  for  example  i  though  there  be  in  all  but  fixe  names,. 

*  UT  RE  MI  FA  SOL  LA,  hauing  amongft  them  an  eafie  order,  yet. 

*  could  not  they  by  rule  declare,  whether  of  thefe  (hould  bee  attributed, 

*  to  euerie  note,  unlefie  they  had  firft  framed  the  long  ladder  or  ikale 

*  of  gamut,  to   which   fome  added,  thinking  the  ladder  too  fhort  j, 

*  fome  hewed  off"  a  peece  thinking  it  too  long.     Then  would  they.. 

*  haue  the  learner  be  as  perfed;  in  coming  down  backward,  as  in  going; 

*  up  forward,  left  in  his  pradife  he  fhould  fall  and  break  his  necke.. 

*  Then  muft  he  learne  gamut  in  rule,  A  rk  in  fpace,  tl  mi  in  rule, 

*  C  FA  UT  in  fpace,  &cc.     Then  muft  he  know  gamut,  how  many 

*  cleves,  how  many  notes.    A  re  how  many  notes,  &c.     Then  muft: 

*  he  know  b,  quadrij,  proper-chant,  and  b  mul,  re  in  A  re,  where- 

*  by  UT   in  C  fa  ut,  whereby  mi  in  A  la  mi  re,  whereby,  &c. 

*  And  when  all  haue  done,  after  their  long  circumftances  of  time,. 

*  whereby  they  fhould  be  often  driuen  to  millibi,  for  notes  ftand-- 

*  ing  in  diuerfe  places  of  gamut  haue   names  that   the  place  where 

*  they  ftand  comprehend  not.  Touching  all  the  prolixe  circumftances 
«  and  needlefie  difficulties  that  they  ufe,  it  loathes  me  greatly  that. 

*  heere  I  (hould  write   them  :  and  much  more  would  it   grieue  the 

*  reader  to  learne  them.   Alfo  many  things  are  ufed  in  fong  for  which 

*  they,  glue  no  rules  at  all,   but  committed  them  to  dodge  at  it,  harkc 

*  to  it,  and  harpe  upon  it.' 

The  precepts  for  finging  contained  in  this  book  are  divided  into; 
ante  rules  and  poft  rules;  the  ante  rules  refped  Quantitie,  Time,  and. 
Tune;  the  poft  rules,  Naming,  Quantitie,  Time,  and. Tune  ;,  and,, 
from  the  manifold  objedions  of  the  author  to  the  ufual  method  of 
teaching,  a  ftranger  would  exped  that  thefe  were  not  only  better  cal- 
culated for  the  purpofe  of  inftrudlon,  but  alfo  diicoveries  of  his  own  ;, 
but  nothing  like  this  appears  :  his  rule  of  teaching  is  the  fcale  with 
the  fix  f)liables,  and  the  cliffs  of  Guido  ;  the  mutations,  the  ftumb- 
ling-block  of  learners,  he  leaves  as  he  found  them;  and,  in  ftiort, 

it 


Chap.  4.       AND    PRACTICE    OF    MUSIC.  359 

it  may  be  truly  faid  that  not  one  of  the  *  prolixe  circumflances  or 

*  needleffe  difficulties'  that  others  ufe  in  teaching,  is  by  him  removed, 
©bviated,  or  lefTened  :  neverthelefs  as  a  proof  of  the  efficacy  of  his 
rules  he  produces  the  following  inftances  : 

*  In  a  moneth  and  lefTe  I  intruded  a  child  about  the  age  of  eight 

*  yeares  to  fing  a  good  number  of  fongs,  difficult  crabbed  fongs,  to  fing 

*  at  the  firfl:  fight,  to  be  fo  indifferent  for  all  parts,  alterations,  cleves, 
'  flats  and  fharpes,  that  he  could  fing  a  part  of  that  kinde  of  which 
'  he  neuer  learned  any  fong,  which  child  for  flrangenefs  was  brought 

*  before  the  lord  deputie  of  Ireland  to  be  heard  fing,  for  there  were 

*  none  of  his  age,  though  he  were  longer  at  it,  nor  any  of  his  time 

*  (though  he  were  elder)  known  before  thefe  rules  to  fing  exadlly. 

*  There  was  another  who  by  dodging  at  it,  hearkning  to  it,  and 

*  harping  upon  it,  could  neuer  be  brought  to  tune  (liarps  aright,   who 

*  fo  foone  as  hee  heard  thefe  rules  fet  downe  for  the  fame,  could  tune 

*  them  fufficiently  well.     1  haue  taught  diuerfe  others  by  thefe  rules 

*  in  lefiTe  than  a  moneth  what  myfelfe  by  the  olde,  obtained  not  in  more 

*  than  two  yeares.  Diuerfe  other  proofes  I  might  recite  which  heere 

*  as  needlefife  I  doe  omit,  becaufe  the  thing  will  fhew  itfelfe.     Diuerfe 

*  haue  repented  in  their  age  that  they  were  not  put  to  fing  in  their 

*  youth  ;  but  feeing  that  by  thefe  rules,  a  good  fkill  may  be  had  in  a 

*  moneth,  and  the  wayes  learned  in  foure  or  five  dayes :  none  commeth 

*  too  late  to  learne,  and  efpecially  if  this  faying  be  true  :  That  no  man 

*  is  fo  olde  but  thinketh  he  may  liue  one  yeere  longer.     As  Ariftotle 

*  in  fetting  forth  his  predicaments  faw  many  things  requifite  to  be  en- 

*  treated  of,  and  yet  unfit  to  be  mixed  with  his  treatife  :  he  therefore 

*  made  ante  predicaments  and  poft  predicaments  :  fo  I  for  the  fame 

*  caufe,  defirous  to  aboliHi  confufion,  haue  added  to  my  rules,  ante 

*  rules  and  poft  rules.     Vale.' 

As  to  thefe  rules,  the  beft  that  can  be  faid  of  them  is  that  there  is 
nothing  like  them  to  be  met  with  in  any  writer  on  mufic,  and  of  the 
perfpicuity  of  his  fiyle  let  this,  which  k  the  firft  chapter  of  his  pod 
rules  of  fong,  as  he  calls  them,  fuffice  for  an  example. 

*  The  exceptions  from  the  order  of  afcention  and  defcention  are  di- 
*■  uerfely  ufed  according  to  the  diuerfitie  of  place,  and  accordingly  they 

*  are  to  be  giuen,  for  each  order  in  naming  feemeth  beft:  to  them  that 
«■  haue  been  brought  up  withalL. 

«•  D  is: 


360  Hi  STORY    OF    THE    SCIENCE       Book  IIF. 

*  D  is  fometlmes  ufed  in  old  fongs  as  a  cleue,  and^putteth  ut  down 

*  to  the  fifth  place. 

*  In  Italy  as  I  underfland,  they  change  ut  into  sol  :  in  England 

<  they  change  re  into  la,    when  the  next  remouing  note  before  or 

*  after  be  under.' 

The  following  is  the  third  chapter  of  this  ingenious  author's  pofh 
rules,  and  iefped:s  the  finging  of  hard  proportions. 

*  In  timing  hard  proportions  that  go  odding,  many  take  care  only 

*  of  the  whole  flroke,  wholly  kept  without  diuiding  it  to  the  going  up 

*  and  then  down  agayne  of  the  hand. 

*  Some  keepe  femibreefe  time,  as  fufficient  eafie  of  itfelfe,  and  do 

*  not  diuide  it  into  minim  time. 

*  Three  minim  time  is  more  difficult,  and  therefore  fome  do  di- 

*  uide  it  into  minim  time.' 

But  attend  to  a  notable  invention  of  this  author  for  the  meafuring  of 
time,  and  fee  what  clear  and  intelligible  terms  he  has  chofen  to  ex- 
prefs  his  meaning. 

*  Take  a  ilick  of  a  certaine  length,  and  a  ftone  of  a  certaine  weight, 

<  hold  the  ftick  ftanding  upon  an  end  of  fome  table  :  fe  you  haue  upon 

*  the  flick  diuers  marks  ;  hold  the  flone  up  by  the  fide  of  the  flick, 

*  then  as  you  let  fall  the  ftone,  inflantly  begin  to  fing  one  note,  and 

*  jafl  with  the  noyfe  that  it  maketh  upon  the  table,  begin  another 

*  note,  and  as  long  as  thou  holdefl  the  firfl:  note,  folong  hold  the  reft, 

*  and  let  that  note  be  thy  cratchet  or  thy  minim,  &c.  as  thou  feeft 

*  caufe,  and  thus  maift  thou  meafure  the  uerie  time  itfeh^e  that  thou 

*  keepeft,  and  know  whether  thou  haft  altered  it  or  not.' 

John  Mundy,  organift,  firfl  of  Eton  college,  and  afterwards  of 
the  free  chapel  of  Windfor  in  queen  Elizabeth's  reign,  was  educated 
under  his  father  Willam  Mundy,  one  of  the  gentlemen  of  the  cha- 
pel, and  an  eminent  compofer.  In  1586,  at  the  fame  time  with 
Bull,  Mundy  the  fon  was  admitted  to  the  degree  of  bachelor  of  mu- 
fic  at  Oxford  j  and  at  the  diftance  of  almoft  forty  years  after  was 
,  created  dodor  in  the  fame  faculty  in  that  univerfity.  Wood  fpeaks 
of  a  William  Mundy,  who  was  a  noted  mufician,  and  hath  compofed 
feveral  divine  fervices  and  anthems,  the  words  of  which  may  be  Cccn 
in  Clifford's  colledtion  ;  this  perfon  was  probably  no  other  than 
Mundy  the  father.  John  Mundy  compofed  madrigals  for  five  voices 
in  the  colledtion  intitled  the  Triumphs  of  Oiiana,   before  fpoken  of, 

and 


Chap.  ^.      AND    PRACTICE    OF    MUSIC.  361 

and  of  which  a  particular  account  will  be  given  hereafter,  was  the 
author  of  a  work  intitled  •  Songs  and  Pfalmes  compofcd  into  3,  4,  and 

*  5  parts,  for  the  ufe  and  delight  of  all  fuch  as  either  loue  or  learne 

*  muficke/  printed  in  15-94.  An  excellent  mufician  undoubtedly  be 
was,  and,  as  far  as  can  be  judged  by  the  words  he  has  chofen  to  exer- 
cife  his  talent  on,  a  religious  and  modeft  man,  refembling  in  this  ref- 
ped  Bird.  Wood  fays  he  gave  way  to  fate  in  1630,  and  was  buried- 
in  the  cloiiler  adjoining  to  the  chapel  of  St.  George  at  Windfor, 


G     H     A     P.         V. 


THOMAS  Weelkes,  organift  of  Wincheftcr,  and,  as  it  (hould 
feem,  afterwards  of  Chichefter,  was  the  author  of  Madrigals  to 
2.1  4>   5>  and  6  voices,  printed  in  1597.     He  alfo  publifhed  in  1598 

*  BaMatts  and  madrigals  to  five  voices,  with  one  to  fix  voices ;'  and  in 
1600  *  Madrigals  of  fix  parts  apt  for  the  viols  and  voices.'  Walther 
in  his  Lexicon  mentions  that  a  monk  of  the  name  of  Aranda  pub- 
lished a  madrigal  of  Wcelkcs  in  a  collection  of  his  own  printed  at 
Helmftadt  in  the  year  1 6  1 9.  A  madrigal  of  his  for  fix  voices  is  pub- 
lifhed  in  the  Triumphs  of  Oriana.  He  alfo  compofed  fervices  and 
anthems,  which  are  well  known  and  much  efteemed.  An  anthem 
of  his  •  O  Lord  grant  the  king  a  long  life,'  is  printed  in  Barnard's 
collection. 

There    is  extant  alfo  a  work   intitled    *  Ayeres  or  phantafticke 

*  fpirites  for   three   voices  made  and   newly   published   by  Thomas 

*  Weelkes  gentleman  of  his  mujedies  chapell,  Bachelar  of  muficke, 

*  and  Organcft  of  the  Cathedral  church  of  Chichefter.'  Lond.  1606, 
This  colledion  contains  alfo   a  fong  for  fix  voices  intitled  *  A  re- 

*  membrance  of  my  friend  M.  Thomas  Morlcy.' 

The  following  mod  excellent  madrigal  of  Weelkes  is  tlie  eleventh 
in  the  collection  published  by  him  in  1597. 


Vol,  in.  B  b  b^ 


362 


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Chap.  5:,      AND    PRACTICE    OF    MUSIC. 


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j64 


HISTORY   OF  THE   SCIENCE      Book  III. 


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Chap>  5.       AND    PRACTICE    OF    MUSIC.        ^    365 


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366 


HISTORY   OF  THE  SCIENCE    Booklll. 


i 


lit 


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for 


THOIVIAS  WEELKES, 


Chap.  5.     AND    PRACTICE    OF    MUSIC.  367 

By  the  Fafti  Oxon.  it  appears  that  in  1602  William  Weclkes  of 
New  College,  Oxon.  was  admitted  to  the  degree  of  bachelor  j  and 
Wood  makes  it  a  queftion  whether  the  regifter  of  the  univerfity  might 
not  miftake  the  name  of  William,  for  that  of  Thomas  Weelkes,  which, 
confidering  the  relation  between  New  College  and  Wincheiier  col- 
lege, it  is  more  than  probable  he  did. 

Giles  Farnaby,  of  Chrift-Church  college  Oxford,  was  in  1592 
admitted  bachelor  of  mufic.  He  was  of  Truro  in  Cornwall,  and 
nearly  related  to  Thomas  Farnabie,  the  famous  fchool-mafter  of 
Kent :  there  are  extant  of  his  compofition.  Canzonets  to  4  voices,  with 
a  fong  of  eight  parts.  Lond.  159S.  A  few  of  the  Pfalm-tunes  in  Ra- 
vcnfcroft's  Colledion,  Lond.  1633,  that  is  to  fay,  the  three  addi- 
tional parts  to  the  tenor  or  plain-fong,  which  is  the  ancient  church 
tune,  are  of  Farnaby's  compofition. 

John  Milton,  the  father  of  our  celebrated  epic  poet,  though  not 
fo  by  profeffion,  was  a  mufician,  and  a  much  more  excellent  one  than 
perhaps  will  be  imagined.  He  was  born  at  Milton  near  Halton  and 
Thame,  in  Oxford(hire,  and,  by  the  advice  of  a  friend  of  the  family 
became  a  fcrivener,  and  followed  that  bufinefs  in  a  fhop  in  Bread- 
flreet,  London*,  having  for  his  fign  the  fpread  eagle,  the  de- 
vice or  coat-armour  of  the  family.  Lender  whom,  or  by  what  means 
^e  acquired  a  knowledge  of  mufic,  the   accounts   that  are  given  of 

*  The  word  fcrivener  anciently  fignified  a  mere  copylft.  Chaucer  rebukes  his  amnnti- 
cnfis  by  the  name  of  Adam  Scriuenere.  The  writing  of  deeds  and  charters,  making  fer- 
vice  books,  and  copying  manufcripts,  was  one  of  the  employments  of  the  regular  clt-rgy. 
After  the  diffolution  of  religious  houfes,  the  bufinefs  of  a  fcrivener  became  a  lay  profelTion  ; 
and  I4jac.  a  company  of  fcrivencrs  was  incorporated,  about  which  lime  they  betook 
themfelves  to  the  writing  of  wills,  leafes,  and  fuch  other  affurances  as  required  but  little 
(kill  in  the  law  to  prepare.  It  was  at  this  time  a  reputable,  and,  if  we  may  judge  from 
the  circumftances  of  the  elder'rvlilton,  and  the  education  which  he  gave  his  children,  a 
lucrative  profeflion  ;  but  after  the  fire  of  London  the  emoluments  of  it  were  greatly  en- 
creafed  by  the  multiplicity  of  bufinefs  which  that  accident  gave  occafion  to.  Francis  Kiik- 
man  the  bookfeller  was  put  apprentice  to  a  fcrivener,  and,  in  the  account  of  his  lile,  e:i- 
•rttled  The  Unlucky  Citizen,  he  rdates  that  almoft  all  the  bufinefs  of  tlie  city  in  maKiii^ 
leafes,  mortgage^  and  afTignments,  and  procuring  money  on  fccuritics  ot  ground  ;;nd 
houfes,  was  tranfa£led  by  ihefe  men,  who  hence  aflumed  the  name  of  money  fcrrvencrs. 
The  furniture  of  a  fcrivener's  fliop  was  a  fort  of  pew  for  the  mafter,  defies  for  the  appriift- 
tices,  and  a  bench  for  the  clients  to  fit  on  till  their  turn  came  to  be  difpatched.  1  he  fol- 
lowing jeft  may  ferve  to  explain  the  manner  in  v.'hich  this  bufinefs  was  carried  on  ; 
A  country  fellow  pafP.ng  along  Cheapfidc,  flopped  to  look  in  at  a  fcri-.cncr's  ftiop,  a.uii 
feeing  no  wares  expofed  to  fale,  afked  the  apprentice,  the  only  perfon  in  ir,  what  they 
fold  there?  Loggerheads  anfwered  the  lad.  By  my  troth,  fays  the  countryman,  *you  mufl: 
*  have  a  roaring  trade  then,  for  I  fee  but  one  left  in  the  fliop.* 

him 


368  HISTORY    OF    THE    SCIENCE       Book  11 L 

him  are  filent,  but  that  he  was  (o  eminently  fkillecT  in  it  as  to  be 
ranked  among  the  firft  mafters  of  his  time  there  are  proofs  irrefraga- 
ble *.  Among  the  Pfalm-tunes  compofed  into  four  parts  by  fundry 
authors,  and  publirtied  by  Thomas  Ravenfcroft  in  1633,  there  are 
many,  particularly  that  common  one  called  York  tune,  with  the 
name  John  Milton  j  the  tenor  part  of  this  tune  is  fo  well  known,, 
that  within  memory  half  the  nurfes  in  England  were  ufed  to  fing  it 
by  way  of  lullaby  ;  and  the  chimes  of  many  country  churches  have 
played  it  fix  or  eight  tim.es  in  four  and  twenty  hours  from  time  im- 
.memorial.  In  the  Triumphs  of  Oriana  is  a  madrigal  for  frve  voices, 
compofed  by  John  Milton  ;  and  in  a  colledion  of  mufical  airs  and 
fongs  for  voices  and  inftruments  intitled  *  The  Teares  or  lamentations 
*  of  a  forrovvful  foule,'  compofed  by  Bird,  Bull,  Orlando  Gibbons, 
Dowland,  Ferabofco,  Coperario,  Weelkes,  Wilbye,  in  fhort,  by  mod 
of  the  great  mafters  of  the  time,  and  fet  forth  by  Sir  William  Leigh- 
ton,  knight,  one  of  the  gentlemen  penfioners  in  16 14,  arc  feveral, 
fongs  for  five  voices  by  John  Milton,  and  among  the  reft  this. 

•  We  are  told  by  Phillips,  in  his  account  of  his  uncle  Milton,  that  he  alfo  was  flcilletf- 
in  mufic.     Mr.  Fenton  in  his  life  of  him  adds  that  he  played  on  the  organ  ;  and  there  can. 
he  but  little  reafon  to  fuppofe,  confidering  that  he  had  his  education  in  London,  viz.  in 
St.  Paul's  fchool,  that  he  had  his  inftruftion  in  mufic  from  any  other  perfon  than  his  fa- 
ther.    From  many  paflages  in  his  poems  it  appears  that  Milton  the  younger  had  a  dee|^ 
fenfe  of  the  power  of  harmony  over  the  human  mind.     This  in  the  II  Penferofo 
'  But  let  my  due  feet  never  fail 

*  To  walk  the  ftudious  cloiflers  pale,. 

*  And  love  the  high  embowed  roof, 

*  With  antique  pillars  mafly  proof, 

*  And  ftoried  windows  richly  dight, 

*  Cafling  a  dim  religious  light. 

*  There  let  the  pealing  organ  blow, 
'  To  the  full- voic'd  choir  below, 

*  In  fervice  high  and  anthems  clear, 

*  As  may  with  fweetnefs,  through  mine  ear 

*  Diflblvc  me  into  extafies, 

*  And  bring  all  Heav'n  before  mine  eyes.' 

fiiews  thnt  however  he  might  objeft  to  choral  ferviceasamatterof  difcipline,he  wasnot  proof 
againft  that  enthufiaflic  devotion  which  it  hasa  tendency  to  excite.  It  may  here  be  remarked 
that  the  lines  above  quoted  prefent  to  the  reader's  imagination  a  view  of  an  ancient  Gothic 
cathedral,  and  call  to  his  recolledion  fuch  ideas  as  may  be  fuppofed  topoflefsthe  mind  dur- 
ing the  performance  of  the  folemn  choral  fervice;  and  it  is  probable  that  the  poet  became 
thus  imprefled  in  his  youth  by  his  frequent  attendanceat  thecathedral  of  St.  Paul,  -/hichwas 
neat  his  fchool,  and  in  his  father's  neighbourhood,  where  the  fervice  was  more  folemn 
than  it  is  now,  and  which  cathedra',  till  it  was  deftroyed  by  the  firs  of  London,  had  pet- 
haps  the  moft  venerable  and  awful  appearance  of  any  edifice  of  the  kind  in  the  world. 


Chap.  J.      AND    PRACTICE   OF  MUSIC. 


3^9 


O        had  1  wings  like  to     a     done 


lU-l-l 


hacll  wing;     ?- e  to      a     douceO        hadi  wings  like      to 


■  •A      fnoui 


4i 


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then 


n?ci;ld 


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m 


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O    hadlMin^slikc    to     a         doue 


then  Ihouldl  from  thefe 


ya£.  III.'"-"  - 


Coe 


37^ 


IM^TORYOF   THE   SCIENCE      Book  III. 


V 


\%^     bles     flie  to  wilderneise 


I     3^ouicl     remoue      I  would    re 


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3r 


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to     Mildernefse 


i        Mould  re -moue  I     would   re- 


Chg£.  5>       AN^D    PRACTICE    OF    MUSIC. 


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?     Ml°  IV-i  III 


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1       there  to  die 


and  there  to  die  and  there    to  _  —        die. 

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afl^ thereto  die     and 


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C  c  C    2  JOHN  MILTON  And  . 


3721  HISTORY    OF    THE    SCIENCE     Book  111. 

And  laftly  it  is  faid  in  the  life  of  Milton  the  fon,  v,^ritten  by  his 
nephew  Edward  Phillips,  and  prefixed  to  a  tranflation  of  fome  oi 
his  Latin  letters  of  ftate,  printed  in  1694,  that  Milton  the  father 
•compofed  an  In  Nomine  of  no  fewer  than  forty  parts,  for  which  he 
was  rewarded  by  a  Polifli  prince,  to  whoni  he  prcfented  it,  with  a 
;golden  medal  and  chain  *■* 


CHAP.         VL 

JOHN  CoPERARio,  a  Celebrated  artiil  on  the  Viol  da  Gamba,  and  a 
good  compofer  for  that  inftrument,  andalfo  for  the  lute,Was  in  great 
-reputation  about  the  year  1600.     He  excelled  in  the  coinpofition  of 
fantazias  for  viols  in  many  parts  i  he  taught  mufic  to  the  children  of 
James  the  Firft^  and  under  him  prince  Charles  attained  to  a  confider- 
able  degree  of  proficiency  on  the  viol  j  fome  of  his  vocal  compofitions 
are  to  be  found  in  Sir  William  Leighton's  colledion,  mentioned  in  the 
preceding  article,  and  of  his  fantazias  there  are  innumerable  in  manu- 
fcript.  He,  in  conjundlion  with  Nicholas  Laniere  and  others,  compofed 
fongs  in  a  mafque  written  by   Dr.  Thomas  Campion,  on  occafion  of 
the  marriage  of  Carr  earl  of  Somerfet  and  the  lady  Frances  Howard, 
"the  divorced  countefs  of  EiTex,  and  prefented  in  the  banquetting-room 
at  Whitehall  on  St.  Stephen's  night,  1614.    Mr.  Fenton,  in  his  notes, 
on  Waller,  on  what  authority  he  does  not  mention,  fays  that  Henry 
Lawcs  having  been  educated  under  him,  introduced  a  fofter  mixture 
of  Italian  airs  than  before   had    been  pradtlfed  in  our  nation,  from 
which,  and  from  his  giving  him  the  appellation  of  Signor,  he  feems 
to  intimate  that  -he  v/as  an  Italian  j  but  the  fad  is  that  he  was  an  Eng- 

■*  A  goluen  medal  and  chain  yn.s  the  ufual  gratuity  of  princes  to  men  of  eminence  in  an^ 
of  the  faculties,  more  efpeciaily  law,  phyfic,  poetry,  and  mufic.  Orlando  de  Laflb  is 
alvvavs  reprefented  in  paintings  and  engravings  with  this  ornament  about  his  neck,  as  are 
Matthlolus,  liaudius,  Senncrrus,  Erycius  Puteanus,  and  many  others.  Jt  feems  that  the 
medal  and  chain  once  beftowed  as  a  teltimony  of  princely  favour,  waS  ever  after  a  part  of 
the  drefs  of  the  perfon  thus  honoured,  at  leaft  on  {}ublic  occafionc.  So  lately  as  the  be- 
ginning of  the  prefent  century  the  emperor  Jofeph  I.  prefented  Antonio  Lotti  of  Venice 
with  a  gold  chain,  as  a  compliment  for  dedicating  to  him  a  book  of  Duetti  Terzetti,  &c. 
of  his  compofition,  in  which  was  contained  the  famous  madrigal  '  In  tina  Siepe  ombrofa.* 
Letters  from  the  Academy  of  ancient  Mufic  at  London  to  Signor  Antonio  Lotti  of  Ve- 
4iice,  1732. 

lifhman 


Chap.  6.       AND    PRACTICE    OF    MUSia  2^7i 

'liftiman,  and  named  Cocpsr,  who  having  fpeilt  much  of  his  time  In 
■Italy,  Italianized  his  name  to  Coperario,  and  was  called  lb  ever  after. 
Coperario  compofed  fantazias  for  viols  to  a  great  number,  which 
•are  extant  in  manufcript  only.  His  printed  works  are,  the  fongs 
compofed  by  him  in  conjundlion  With  Laniere  on  occafion  of  the 
above-mentioned  marriage,  and  thefe  that  follow  : 

*  Funeral  Teares  for  the  death  of  the  Right  Honorable  the  Earle 
"»  of  DeuonQiire,  fig&red  in  feauen  fonges,  whereof  fixe  are  fo  fet 
■«  forth  that  the  wordes  may  be  expreft  by  a  treble  uoice  alone  to  the 
'*  lute  and  bafe  viol,  or  elfe  that  the  meane  part  may  be  added,  if  any 
«  {hall  affea  more  fulnefle  of  parts.  The  feauenth  is  made  in  forme 
«  of  a  dialogue,  and  cannot  be  fung  without  two  uoyces.  Inuented 
"»  by  John  Coperario.    Pius  pia.'     FoL   Lond.  1606. 

*  Songs  of  Mourning,  bewailing  the  untimely  death  of  prince 
■«  Henry,  worded  by  Thomas  Campion,  and  fet  forth  to  bee  fung 
«  with  one  uoice  to  tire  lute  or  vroll  by  John  Coperario.'  Fol.  Lond, 

i6i3. 

El  WAY  Bevin,  a   man   eminently  fliilled  in   the  knowledge   of 
pradical  compofition,  flouri(l>ed   towards  the  eiid   of  queen  Eliza- 
beth's reign.     He  was  of  Welili  estradion,  and   had  hten  educated 
under  Tallis,  upon  whofe  recommendation  it  was  that  on  the  third  day 
of  June,  I  589,  he  was  fworn  in,  gentleman  extraordinary  of  the  cha- 
pel, from  whence  he  was  expelled  in  1637,  it  being  difcovered  that 
he  adhered  to  the  Romifh  communion.     He   was   alfo    organifl    of 
Eridol  cathedral,  but  forfeited    that   employment  at   the  flime  time 
with  his  place  in  the  chapel.     Child,  afterwards  dodor,  was  his  fcho- 
lar.     It  is  worthy  of  remark  that  although  Wood  has  been  very  care- 
ful in  recording  egr^inent  m.uiicians,  as  well  thofe  of  Cambridge  as  of 
Oxford,  the  natne  of  Bevin  docs  not  once  occur  m  either  the  Athens 
or  Falli  Oxonienfes.     One  of  the    reafons  for    his   care  in  preferv- 
ing   the   memory    of  men   of  this  faculty   was  that   himfelf  was  a 
pafllonate  lover  of  mufic,  and  a  performer,  and  Bevin's  merits  were  fuch 
as  intitled  him  to  an  eulogium,  fo  that  it  i^  difficult  to  account  for  this 
omilTion.     The  abxDve  memoir  however  will  in  fome  meafure  help  to 
fupply  it.     He  has   compofed   fundry   fervices,  fome  of  which  are 
■  printed  in  Barnard's  coUedlion,  and  a  few  anthems. 

Before  Bevin's  time  the   precepts   for   the    compofition  of  canon 
were     known    to    few.      Tallis,     Birdj    Waterhoufe,     and    Far- 
mer, 


i74 


HISTORY   OF   THE    SCIENCE     Ecoklll. 


mer,  were  eminently  flvlUed  in  this  mcfi;  abftrufe  part  of  mu<- 
fical  pradice.  Every  canon  as  given  to  the  public,  was  a  kind 
of  enigma.  Compofitions  of  this  kind  were  fometimes  exhibited  in 
the  form  of  a  erofs,  fometimes  in  that  of  a  circle  :  there  is  now  ex- 
tant one  refembling  a  horizontal  fun-dial  ;  and  the  refolution  as  it 
was  called  of  a  canon,  which  was  the  refolving  it  into  its  elements^ 
nnd  reducing  it  into  fcore,  was  deemed  a  work  of  almoft  as  great 
difficulty  as  the  original  compofition  j  but  Bevin,  with  a  view  to  the 
improvement  of  ftudents,  generoufly  communicated  the  refult  of  many 
years  ftudy  and  experience  in  a  treatife  which  is  highly  commended' 
by  all  who  have  taken  occafion  to  fpeak  of  it. 

This  book  was  publifhed  in  quarto,  1631,  and  dedicated  to  Good- 
man, bifliop  of  Gloucefter,  with  the  following  title :  *  A  briefe  and  fhortr 
*'  inQru(5lion  of  the  art  of  muficke,  to  teach  how  to  make  difcant  of 
'  all  proportions  that  are  in  ufe  :    Very  neceffary  for  all  fuch  as  are 

*  defirous  to  attain  to  knowledge  in  the  art ;  and  may  by  practice,  if 

*  they  can  ling,  foone  be  able  to  compofe  three,  four,  and  five  parts^ 

*  and  alfo  to  compofe  all  forts  of  canons  that  are  ufuall,  by  thcfe  di- 

*  redlions  of  two  or  three  parts  in  one  upon  the  plain-fong.' 

The  rules  contained  in  this  book  for  compofition  in  general  are  very* 
brief  J  but  for  the  compodtion  of  canon  there  are  in  it  a  great  variety, 
of  examples  of  almoft  all  the  poffible  forms  in  which  it  is  capable  of 
being  conflrudted,  even  to  the  extent  of  fixty  parts.  In  the  courfe  oB 
his  work  the  author  makes  ufe  of  only  the  following  plainfong 


H 

Ov 

- 

' 

A 

i,V 

<^ 

\? 

^    ■ 

A 

V 

. ^^L— 

[ — 0 

as  the  bafis  for  the  feveral  examples  of  canon  contained  in  his  book,, 
and  it  anfwers  through  a  great  variety  of  canons,  following  at  the 
dated  diflances  of  a  crotchet,  a  minim,  a  femibreve,  a  breve,  and 
three  minims,  by  augmentation  and  diminution,  rede  et  redtro  and 
per  arfin  et-thefin  of  three  in  one,  four  in  two,  in  the  diateffaron  and 
fubdiateflaron,  diapente  and  fubdiapente,  and  at  various  other  inter- 
vals. But  what  muft  be  matter  of  amazement  to  every  one  acquaint- 
ed with  the  difficulties  that  attend  this  fpecies  of  compofition  is,  that 
thefe  few  fimple  notes  appear  virtually  to  contain  in  them  all  thofe 
harmonies  which,  among  a  great  variety  of  others,  th^  following  cooi^- 
pofition  of  this  author  is  contrived  to  illuftrate. 


:  /i  -^T^ 


Ch^p.6.      AND    PRACTICE    OF    MUSIC, 

CANON   OF  FIVE   PARTS   IN   TWO,    RECTE    E^JT 
RETRO}    ET   PER   ARSIN   ET   THESIN. 


37i 


-^ 


O 


-0- 


O, 


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■^ 


^ 


-^ 


3^ 


■^ 


JryjihtHH^ 


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5f 


-i- 


iif^nMit^if-tL 


The  author  feems  to  have  been  a  devout,  but,  in  fome  degree,  a 
fuperflltious  man,  for  fpeaking  of  a  canon  of  three  parts  in  one,  he 
makes  ufe  of  thefe  words  : 

*  A  Canon  of  three  in  one  hath  refemblance  to  the  holy  Trinity^ 

*  for  as  they  are  three  diftindt  parts  comprehended  in  one.     The  lead- 

*  ing  part  hath  reference  to  the  Father,  the  following  part   to  the 

*  Sonne,  the  third  to  the  Holy  Ghofl.' 

Thomas  Bateson,  an  excellent  vocal  compofer,  was  about  the 
year  i6oo  organift  of  the  cathedral  church  of  Chefter,  Wood  fays  he 
was  a  perfon  cfteemed  very  eminent  in  his  profefTion,  efpecially  after 
the  publication  of  his  EnglilL  madrigals  to  3,  4,  5,  and  6  voices.  . 
About  i6i8  he  became  organift  and  mafler  of  the  children  of  the  ca-; 
thedral  church  of  the  blefled  Trinity  in  Dublin,  and  in  the  univerfity 
■of  that  city  it  is  fuppofed  he. obtained  the  degree  of  bachelor  of  mu- 
fic.     The  following  is  one  of  his  madrigals  for  three  voices. 


37^  HISTORY    OF    THE    SCIENCE      Book 


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Chap.  6,     AND   PRACTICE  OF    MUSIC. 


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378 


HISTORY   OF    THE    SCIENCE      Book  III. 


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THOMAS   BATESON. 


Chap.  7-       AND    PRACTICE    OF    MUSIC.  37^, 

THOMAS  ToMKiNS  was  of  a  family  that  feems  to  have  produced 
more  muficians  than  any  in  England.  His  father  was  Thomas  Tom- 
kins,  Chanter  of  the,  choir  of  Glouceder,  who  difcovering  in  his 
fon  a  propenfity  to  mufic,  put  him  under  the  care  of  Bird,  by  whofe 
inftrudions  he  fo  profited,  that  for  his  merits  he  was  made  a  gentleman 
of  the  chapel  royal,  and  afterwards  organift  thereof  :  fome  years  after 
this  he  became  organift  of  the  cathedral  church  at  Worcefter,  and 
compoftdfongs  of  3,  4,  5,  and  6  parts,  printed  at  London  without 
a  date,  but  conjedured  to  have  been  publifhed  before  the  year  1600. 
He  was  alfo  the  author  of  a  work  in  ten  books,  intitled  *  Mufica  Deo 

*  facra  et  Ecclefiaj  Anglicanse,'  confiding  of  anthems,  hymns,  and 
other  compofitions  adapted  to  the  church  fervice.  The  words  of 
others  of  his  compofitions  of  this  kind  may  be  feen  in  the  col- 
ledion  of  James  CliiFord  before  mentioned.  The  fame  James  Clif- 
ford had  what  Wood  calls  a  fet  of  vocal  church-mufic  of  four 
and  five  parts  in  manufcript,  compofed  by  Thomas  Tomkins, 
which  he  gave  to  the  colledion  of  mufic  in  the  library  of  Magdalen 
college  Oxford.  Some  of  the  madrigals  in  the  Triumphs  of  Oriana 
were  compofed  by  Thomas  Tomkins,  the  fubjed:  of  the  prefent  arti- 
cle. The  time  both  of  his  birth  and  death  are  uncertain,  as  are  alfo 
the  particular  times  when  his  works  were  feverally  publifhed  ;  all 
that  can  be  faid  touching  the  time  when  he  flouriflied  is,  that  he  was 
a  fcholar  of  Bird,  that  he  was  admitted  to  his  bachelor's  degree  in 
1607,  being  then  of  Magdalen  college,  and  that  he  was  living,  as 
Wood  relates  -f,  after  the  grand  rebellion  broke  out.  He  had  a  fon 
named  Nathaniel,  a  prebendary  of  Worcefler,  and  feveral  brethren, 
among  whom  were  Giles,  organifl:  of  the  cathedral  church  of  Salil- 
bury  ;  John,  organift  of  St.  Paul's  cathedral,  and  a  gentleman  of  the 
chapel  *  ;  and  Nicholas,  one  of  the  gentlemen  of  the  privy-chamber, 
to  king  Charles  I.  a  perfon  well  fkilled  in  the  pradice  of  mufic. 

*  In  the  old  cathedral  of  St.  Paul  was  the  following  infcription  in  merftory  of  him, 

*  Johannes  Tomkins Mufic2eBaccalaureus,Organilla  fui  tempoiis  celeberrimus,  pofiquaia 

*  Capellse  regali,  per  annos  duodecim,  huicautem  Eccleria:  per  novemdecem  fedulo  inler- 

*  viiflet,  ad  caeleftem  chorum  migravit,  Septembris  27,  Anno  Domini,  1638.    vEtatis  lua^ 

*  52.     Cujus  dcfiderium  moerens  uxor  hoc  teftatur  Marniore.'     Dugd.  Hift.  St.  Paul's 
Cath.  edit.  1658. 

t  FaftiOxon.  vol.1.  Col.  176. 


£8a 


HISTORY  OF  THE  SCIENCE     Booklll. 


:masteil   of   the    ba^^d  o:p   music 
TO  hts_^l^jest:x^  CHA..  I. 

^/^fn  an-an^t^ta/f^e^'^i^tof^.^-'i:,^  ^/iCa^ft^ -t/cA^.  ('^^vy/. 


Nicholas  Laniere,  Lanier,  or  Laneare,  for  In  all  thefe 
ways  is  his  name  fpelt,  a  muficlaii  of  eminence  in  his  time,  though 
he  lived  and  died  in  England,  was  born  in  Italy  in  the  year  1568. 
He  was  a  painter  and  an  engraver,  which  two  latter  profeffions  have 
intitled  him  to  a  place  in  the  Anecdotes  of  Painting  in  England,  pub- 
lished i3y  Mr.  Walpole,  who  has  neverthelefs  eonfidered  him  as  a  mu- 
lician,  and  has  given  a  brief  but  curious  account  of  him. 

During  the  reign  of  James  I.  the  houihold  muficians,  thofe  of 
the  chapel,  and  many  others  of  eminence,  whom  the  patronage  of 

Eliza- 


Chap.  6.       AND    PRACTICE    OF    MUSIC.         •     381 

Elizabeth  had  produced,  were  negle<fled,  and  very  little  of  the  royal 
favour  Vv'as  extended  to  any  befides  Laniere  and  Coperario  ;  and  for 
this  it  v-'ill  not  be  difficult  to  alTign  a  reafon  :  the  one  was  an  Italian  by 
birth,  and  the  other  had  lived  in  Italy  till  his  ftyle,  and  even  his  very 
name,  were  fo  Italianized,  that  he  was  in  general  taken  for  a  native 
of  that  country  :  thcfe  men  brought  into  England  the  Stylo  Recitativo, 
as  it  is  called  in  the  mafque  mentioned  by  Mr.  Walpole,and  vvhichhad 
then  lately  been  invented  by  Jacopo  Peri,  and  Giulio  Caccini,  and^ 
improved  by  Claudio  Montevcrde. 

The  mafque  at  Lord  Hay's  for  the  entertainment  of  the  Baron  De 
Tour,  in  Ben  Johnfon's  works,  was,  as  therein  is  mentioned,  coni- 
pofed  by  Laniere  folely  ;  but  at  a  folemnity  of  a  different  kind,  the 
infamous  nuptials  of  Carr  earl  of  Somerfet  with  the  lady  Frances 
Howard,  the  divorced  countefs  of  Eflex,  he  and  Coperario  lent  their 
joint  affidance,  for  in  a  mafque,  written  by  Dr.  Thomas  Campion 
and  performed  in  the  banquetting  room  at  Whitehall  on  St.  Stephen's 
night  1 6 14,  on  occafion  of  that  marriage,  and  printed  in  the  fzniQ 
year,  their  names  occur  as  the  compofers  of  the  mufic.  The  maf- 
quers  v/ere  the  duke  of  Lenox,  the  earls  of  Pembroke,  Dorfet,  Salif- 
bury,  Montgomery  ;  the  lords  Walden,  Scroope,  North,  and  Hayes  j 
Sir  Thomas,  Sir  Henry,  and   Sir  Charles  Howard. 

Many  fongs  of  Laniere  are  to  be  met  with  in  collecfiions  publi(hed 
in  the  time  of  Charles  I.  but  they  feem  to  have  little  to  recommend 
them. 

An  admirable  portrait  of  himfelf,  painted  by  his  own  hand,  is  yet 
in  the  mufic-fchool  at  Oxford,  an  engraving  from  which  is  above  in- 
ferted  :  at  his  right  hand  is  a  fcull,  in  the  mouth  whereof  is  a  label, 
containing  a  canon  of  his  compofition. 

GeorgeFerebe,  maflerof  arts  of  Magdalen  collegeOxford,  ^S95> 
minifter  of  Bilhops  Cannings,  Wilts,  was  a  native  of  Gloucederfliire, 
and  well  fkilled  in  mufic.  Wood,  in  the  Fafli  Oxon.  vol  I.  Col.  1  50, 
has  given  a  curious  account  of  him,  which  is  here  infcrted  in  his  own 
words :  *  This  perfon  did  inftrud  divers  young  men  of  his  parifii  in  the 

*  faculty  of  mufic  till  they  could  either  piny  or  fing  their  parts.     In 

*  the  year  i6i  3  Qu.  Anne,  the  royal  confortof  K.  James  L  made  her 

*  abode  for  fcm.e  weeks  in  the  city  of  Bath,  purpofely  for  the  ufc  of 
«  the  waters  there,  in  v/liich  time  he  compofed  a  fong  of  four  parts, 

*  and  intruded  his  fcholars  to  fing  it  perfectly,  as  alfo  to  pby  a  lef- 

VoL.  III.  Bee  *  fon 


382  HISTORY   OF   THE   SCIENCE     Book  III. 

*  fon  or  two  which  he  had  compofed,  upon  their  wind-inftruments  : 

*  on  the  I  ith  June  the  fame  year  the  queen  in  her  return  from  Bath 

*  did  intend  to  pafs  over  the  downes  at  Wenfdyke,  within  the  parifli 

*  of  Bifhop's  Cannings.     Of  which   Ferebe   having  timely  notice, 

*  drelTed  himfelf  in   the  habit  of  an  old  bard,  and  caufed  his  fcho- 

*  lars  whom  he  had  inflrudted,  to  be  cloathed  in  fhepherds  weeds. 

*  The  queen  having  received  notice  of  thefe  people,  (he  with  her  re- 

*  tinue  made  a  fland  at  Wenfdyke,  whereupon  thefe  muficians  draw- 

*  ing  up  to  her,  played  a  moft  admirable  leflbn  on  their  wind-inftru- 
'  ments  j  which  being  done,  they  fung  their  lefTon  of  four  parts  with 

*  double  voices,  the  beginning  of  which  was  this, 

'  Shine,  O  thou  facred  fhepherds  flar 
*  On  filly  (hepherd  fwaines,  &c. 

*  which  being  well  performed  alfo,  the  bard  concluded  with  an  epi- 

*  logue  to  the  great  liking  and  content  of  the  queen  and  her  company. 

*  Afterwards  he  was  fworn  chaplain  to  his  majefty,  and  was  ever 

*  after  much  valued  for  his  ingenuity.' 


CHAP.         VII. 

THE  account  hereinbefore  immediately  given  contains  the  fucceA 
fion  of  theoretic  and  pradical  muficians  down  to  the  end  of  the 
lixteenth  century,  at  the  commencement  whereof  mufic,  not  to  fpeak. 
of  that  kind  of  it  which  was  appropriated  to  divine  fervice,  from  be- 
ing the  domeftic  recreation  of  private  perfons,  and  the  entertainment 
of  feled:  companies,  was  introduced  into  the  theatre,  and  made  an  auxi- 
liary to  dramatic  performances.  But  before  the  hiflory  of  this  union 
and  the  fubfequent  progrefs  of  pradical  muiic  can  be  given,  it  is  ne- 
ceffary  to  review  the  pad  period,  and  afcertain  the  flate  of  mufic  in 
general  at  the  clofe  of  it. 

The  compofitions  peculiar  to  the  church,  not  to  diftinguiOi  be- 
tween one  and  the  other  of  them,  were,  as  has  been  related,  the 
Mafs,  the  Motet,  the  Anthem,  and  the  Hymns  for  various  occafions, 
fuch  as  the  Stabat  Mater,  Salve  Regina,  A  Solis  ortus,  Alma  Redemp- 
toris  Mater,  Ave  Regina  Caelorum,  and  others  to  be  found  in  the 
Romifli  MiiTal,  the  Antiphonary,  and  the  Breviary  j  the  only  Species  of 

vocal 


chap.  7-     AND    PRACTICE    O  F    M  U  S  I  C.  383 

vocal  harmony  calculated  for  private  amufement  hitherto  mentioned, 
were  the  Madrigal,  the  Canon,  and  the  Catch  or  Round,  all  which 
required  a  plurality  of  voices  ;  and  of  inflrumental  the  Fantazia  for 
viols  and  other  inftruments  to  a  certain  number.  But  befides  thefe, 
the  names  of  fundry  other  kinds  of  vocal  and  inftrumenfal  harmony 
and  melody  occur  in  Morley's  Introdudion,  and  other  mufical  tra<fts, 
of  which  it  is  here  proper  to  take  notice,  and  firft  of  the  Canzone. 

The  Canzone  is  a  compoiition  fomewhat  refembling,  but  lefs  ela- 
borate than  the  madrigal.  It  admits  of  little  fugues  and  points, 
and  feldom  exceeds  three  parts,  though  the  name  is  fometimes  given 
to  a  fong  for  one  voice.  Cervantes,  in  Don  Quixote,  calls  the  fong 
of  Chryfodom  a  Canzone. 

The  word  Canzonet  is  a  diminutive  of  Canzone,  and  therefore 
means  a  little  or  fhort  canzone  or  fong  in  parts.  Luca  Marenzio, 
though  he  in  general  applied  himfelf  to  more  elaborate  (ludies,  Gio- 
vanni Feretti,  and  Horatio  Vecchi  are  faid  to  have  excelled  in  this 
fpecies  of  compofition. 

The  Villanella,  the  lighteft  and  leaft  artificial  kind  of  air  known  in 
mufic,  is  a  compofition,  as  Morley  fays,  made  only  for  the  ditty's 
fake,  in  which  he  adds,  many  perfe(5t  chords  of  one  kind,  nay  even 
difallowances  may  be  taken  at  pleafure,  fuiting,  as  he  fays,  a  clown- 
i{h  mufic  to  a  clownifh  matter.  Among  the  fonnetsof  Sir  Philip  Sid- 
ney is  one  faid  to  be  written  to  the  air  of  a  Neapolitan  villanella. 

The  Ballet  is  a  tune  to  a  ditty,  and  which  may  likewife  be  danced 
ta.  Morley  fpeaks  alfo  of  a  kind  of  Ballets  called  Fa  la's,  fome  where- 
of, compofed  by  Gaftoldi,  he  fays  he  had  fcen  and  it  feems  imitated,, 
for  there  is  a  collection  of  fongs  of  this  kind  by  Morley  in  five  parts, 

Morley  mentions  many  other  kinds  of  air  in  pradice  in  his  time,  as 
namely,  the  Pavan  *  the  PafTamezzo,  the  Galliard,  the  Courant,  the 

*  The  Pavan,  from  Pavo  a  peacock,  is  a  grave  and  majeflic  dance  ;  the  method  of 
dancing  it  was  anciently  by  gentlemen  drefl'ed  with  a  cap  and  fword,  by  thofe  of  the 
long  robe  in  their  gowns,  by  princes  in  their  mantles,  and  by  ladies  in  gowns  with  long 
trains,  the  motion  whereof  in  the  dance  refembled  that  of  a  peacock's  tail.  This  dance  is 
fuppofed  to  have  been  iiiventcd  by  the  Spaniards ;  and  its  figure  is  given  with  the  charac- 
ters for  the  fceps  in  tbe  Orchefographia  of  ITioinct  Arbeau.  Every  Pavan  has  its  Galliard, 
a  lighter  kind  of  air  made  out  of  the  former. 

Of  the  PaiTamezzo  little  is  to  be  (.ud,  except  that  it  was  a  favourite  air  in  the  days  of 
queen  Elizabeth.  Ligon,  in  his  Hiflory  of  Barbadoes,  mentions  a  Paflamezzo  Galliard 
which  in  the  year  1647  a  Padre  in  that  ifland  played  to  him  on  the  lute,  the  very  fame  he 
fays  with  an  air  of  that  kitid  which  in  Shakefpeare's  Henry  the  Fourth  was  origi- 
nally played  to  Sir  Joha  FaiflafF  and  Doll  Teariheet  by  Sneak  the  muficiaii  therein  named. 

This 


384  HISTORY    OF    THE    SCIENCE       Book  III. 

Jig,  the  Hornpipe,  the  ScottKh  Jig,  and  others.  It  muil:  he 
noted  that  thele  were  all  dance-tunes,  and  that  the  difference  be- 
tween the  one  and  others  of  them  lay  in  the  difference  of  meafure 
and  the  number  of  bars  of  which  the  fcveral  ftrains  were  made  to 
confift. 

But  of  vocal  mufic  the  madrigal  appears  to  have  been  mdn  in  prac- 
tice of  any  kind  at  this  time,  as  well  in  England  as  in  other  countries ; 
it  was  fome  years  after  this  fpecies  of  harmony  was  invented  that 
the  Englirti  muficians  applied  themfelves  to  the  ftudy  of  it,  for  Bird 
feems  to  have  been  the  firfl  compofer  of  madrigals  in  this  country; 
his  firfteiTay  of  the  kind  was  upon  two  flanza^s  of  the  Orlando  Furiofo, 
*  La  Verginella,'  which  he  fet  for  five  voices,  and  was  received  with 
the  utmoft  degree  of  approbation. 

Hitherto  a  madrigal  to  any  other  than  Italian  words  was  a  thing  not 
known  ;  and  it  feemed  to  be  a  doubt  among  muficians  whether  the 
words  of  Englifii  poetry  could  with  any  degree  of  propriety  be 
made  to  confifl;  with  the  madrigal  flyle  of  mufical  compofition,  till 
1583,  when  a  certain  gentleman,  whofe  name  is  unknown,  for  his 
private  delight,  made  an  efiay  of  this  kind,  by  tranflning  the  words  of 
fome  mod  celebrated  Italian  madrigals  into  Englidi  verfe,  fo  as  thus 
tranllated  they  might  be  fung  to  the  original  notes.      Thefe  came  to 

This  little  anecdote  Ligon  might  hav^  by  ttaditlon,  but  his  concluHon  that  becnufe  it  wr.s 
played  in  a  dramatic  reprefentation  of  the  hiflory  of  Henry  the  Fourili,  it  mull  be  as  an- 
cient as  his  time,  is  very  idle  and  injudicious. 

TheCourant,  the  Jig,  the  Hornpipe,  and  a  variety  of  other  air?,  will  be  fpnken  of  here- 
after. As  toScottifh  jigs,  and  indeed  Scottiih  tunesin  general,  all  men  know  that  the  ftyle 
and  caO:  of  them  is  unaccountably  fingular.  The  vulgar  notion  is  that  this  fir.gularity 
arifes  fiom  a  commixture  of  the  primitive  rude  melody  of  that  country  with  the  more  re- 
fined air  of  the  Italians  ;  and  that  David  Rizzio,  the  minion  of  Mary  queen  of  icots,  was 
not  only  the  author  of  this  improvement,  but  that  many  of  the  moil  admired  Scots  tunes 
yet  in  ufe  are  of  his  com.pofition.  This  is  highly  improbable  feeing  that  none  of  the  wri- 
ters on  mufic  take  the  leaft  notice  of  him  as  a  compo''er.  Buchanan  liiys  that  he  was  fent 
for  into  Scotland  to  entertain  the  queen  in  the  performance  of  madrigals,  in  which  he 
fung  the  bafs  pnrt.  Melvil  f^iys  the  fame,  and  adds  that  he  ha<l  a  fine  hand  on  the  lute. 
Befides  all  which  it  will  hereafter  be  fliewn  that  the  Scottifh  mufic,  fo  far  from  borrowing 
from  it,  has  enriched  the  Italian  with  feme  peculiar  graces. 

Henry  Peacham,  the  author  of  the  Compleat  Gentleman,  in  a  humourous  little  trai£l:  of 
hisintitled  the  Worth  of  a  Penny,  takes  notice  that  northern  or  Scottifh  tunes  were  much 
in  vogue  in  his  time  ;  for  defcribing  a  man  dcje6lcd  in  his  mind  for  U'ant  of  money,  he 
fays  that  he  cannot  (land  flill,  bnt  like  one  of  theToA'er  wild  beafls,  is  ftill  walking  from 
one  end  of  his  room  to  another,  humming  out  fome  new  northern  tune  or  other,  p-ig.  14. 
And  again,  giving  the  character  of  one  Godfrey  Colton,  a  taylor  in  Cambridge,  of  whom 
he  tells  a  pleafant  ilory  ;  he  fays  he  was  a  merry  companion  with  his  tabor  and  pipe,  and 
fung  all  manner  of  northern  fungs  before  nobles  and  gentlemen,  who  much  delighted  iu 
bis  company.     Pag.  29. 

the 


Chap.  7-      AND    PRACTICE    O  F   M  U  S  IC.  3^5 

the  hands  of  one  Nicholas  Yonge,  who  kept  a  houfe  in  Londor>  for 
the  reception  of  foreign  merchants  and  gentlemen,  and  he  in  the  year 
1588  publilhed  them,  together  with  others  of  the  fame  kind,  with  the 
following  title  :  '  Mufica  Tranfalpina,  Madrigales  tranflated  of  four, 

*  five,  and  fixe  parts,  chofen  out  of  divers  excellent  authors ; ; with  the 

*  firftand  fecondpart  of  La  Verginella,  made  by  Maifter  Bird  upon 

*  two  ftanzas  of  Ariofto  *,  and  brought  to  fpeak  Engli(h  with  the 

*  reft,  publiflied  by  N.  Yongf,  in  favour  of  fuch  as  take  pleafure  in 

*  mufic  of  voices -f** 

*  Thefe  two  ilanzas  are  imitated  from  the  Carmen  Nuptlale  of  Catullus,  and  arc  a^ 
follow ; . 

'La  Verginella  e  fimile  a  la  Rofa  ;■ 

*  •  Ch'  in  bel  giardin  fu  la  nadva  fpina, 

*  Mentre  fola,  e  ficura  fi  ripofa, 

*  ■  Ne  gregge,  ne  paftor  fe  I'iavvicina  ; 

*  L'aura  foave,  e  I'alba  rugiadofo, 

*  L'acqua,  la  terra  al  fuo  favor  s'inchina  }  -- 

*  Gioveni  vaghi,  e  donne  inamorate, 
'Amanahaverne,  e  feni,  e  temple  ornate. 

*  Ma  non  Ci  tofto  dal  maturno  ftelo 
'  Rimofla  viene,  e  dal  fuo  ceppo  verde  j 

*  Che,  quanto  havea  da  gli  huomini,  e  dal  cielo  > 
'  Favor,  gratia,  e  bellezza,  tutto  perde  : 

*-La  vergine,  che  '1  fior  ;  di  che  pjuzelo, 

*  Che  de  begli  occhi,  e  de  la  vita,  haver  de*; 
*-Lafcia  altrui  corre  ;  il  pregio  c'haueainnanti; 

*  Perde  nel  cor  di  tutti  gl  altri  amanti. 

Orlando  Furioso,  CantoPrimo. 

The  reader  will  at  firft:  fight  difcover  that  the  air.  in  the  Beggars  Opera,  *  Virgins  are  • 
•like  the  fair  flower  in  its  luftre,'  is  an  imitation  of  the  above  ftanzas, 

t  The  hiftory  of  this  publication  is  contained  in  the  dedication  of  the  book  to  Gilbert 
lord  Talbct,  fon  and  heir  to  George  earl  of  Shrewfbury,  and  is  to  this  purpcfe. 

'  Since  i  firft  began  to  keepe  houfe  in  this  citie,  it  hath  been  no  fmall  comfort  unto  mee, 

*  that  a  great  number  of  gentlemen  and  merchants  of  good  accompt  (as  well  of  this  realme 

*  as  of  forreine  nations)  haue  taken  in  good  part  fuch  entertainment  of  pleafure  as  my 

*  poore  abilitie  was  able  to  affoord  them,  both  by  the  exercife  of  muficke  daily  ufed  in  my 

*  houfe,  and  by  furniftiing  them  with  bookes  of  that  kinde,  yeerely  fent  me  out  of  Italy 

*  and  other  places,  which  being  for  the  mod  part  Italian  fongs,  are  for  fweetnefs  of  aire 

*  uerie  well  liked  of  all,  but  moft  in  account  with  them  that  Underfland  that  language  ;  as 

*  for  the  reft,  they  doe  either  not  fing  them  at  all,  or  at  leaft  with  little  delight.  And  albeit 

*  -fhere  be  fome  Englifli  fongs  lately  fet  forth  by  a  great  maifter  of  muficke,  w  hich  for  (kill 
«  and  fweetnefs  may  content  the  moft  curious,  yet  becaufe  they  are  not  many  in  number, 

*  men  delighted  withuarietie  haue  wifhed  for  more  of  the  fame  fort.  For  whofe  caufe  chief- 

*  lyl  endeuoured  to  get  into  my  hands  all  fuch  Englifh  fongs  as  were  praife-worthie,  and 

*  amongft  others  I  had  the  hap  to  find  in  the  hands  of  fome  of  my  good  friends,  certainc  Ita- 
*-lian  madrigales,  tranflated  moft  of  them  fiue  yeeres  agoe  by  a  gentleman  for  his  priuate 

Vol.  IIL.  F.ff.  ♦delight 


3S6  HISTORY    OF    THE    SCIENCE       Book  I M. 

*In  this  colledion  are  the  firft,  fecond,  and  third  parts  of  the  Thyrfis- 
of  Luca  Marenfio,  as  Peacham  calls  it,  tranllated  from  *  Tirii  morir 

*  volea,  'Chi  fa  hoggi  il  mio  fole,'  of  the  fame  author,  to  *  What  doth 

*  my  pretty  darling  ?  The  *  Sufann'  un  jour,'  of  Orlando  deLaffo,  and 
the  Nightingale  of  the  elder  Ferabofco,  celebrated  alfo  by  Peacham,.. 
with  a  number  of  other  well  chofen  compofitions  from  the  beft  of  the 
Italians.  It  was  a  work  in  great  eftimation  5  the  pidture  of  Dr.  Hea- 
ther, now  in  the  mufic-fchool,  Oxford,  reprefents  him  with  a  book, 
in  his  hand,  on  the  cover  whereof  is  written  MUSICA  TRANS'* 
ALPINA. 

In  1590  another  colledion  of  this  kind  was  published  with  this^ 
title  *  The  firft  fet  of  Italian  madrigalls,  Englished,  not  to  the  fenfe  of 

*  the  original  dittie,  but  after  the  afFedion  of  the  noate.  by  Thomas^ 

*  Watfon  gentleman.     There  are  alfo  heere  inferted  two  excellent 

*  madrigalls  of  Mafter  William  Byrds,  compofed  after  the  Italian^ 

*  uaine  at  the  req^uefl  of  the  faid  Thomas  Watfon.* 

This  book  contains,  among  others,  thofe  madrigals  of  Luca  Ma- 
renzio  which  Peacham   has  pointed  out  as  excellent,  viz.  *  Veggo 

*  dolce  mio  ben,*  or  *  Farewell  cruel  and  unkind.'     *  Cantava,'  or 

*  Sweet  finging  Amaryllis.*  Thofe  of  Bird,  which  he  compofed  at 
the  requeft  of  the  publifher,  are  both  to  the  fame  words,  viz.  •  This 

*  fweet  and  merry  month  of  May,*  the  one  in  four,  the  other  in  fix. 
parts,  and  arc  a  compliment  to  queen  Elizabeth. 

The  fuccefs  of  thefe  feveral  publications  excited,  as  it  was  very 
natural  to  expedt  it  would  do,  an  emulation  in  th'eEngli{h.muficians- 
•  delight  (as  not  long  before  certaine  Napolitans  had  been  Englifhed  by  a  verie  honour- 

*  able  perfonage,a  councellour  ofeftate,  whereof  Ihauefeen  fome,  but  neuer  pofleffed  any.) 

*  And  finding  the  fame  to  be  fingulerly  well  liked,  not  onely  of  thofe  for  whofe  caufe  I  ga- 

*  thered  them  ;  but  of  many  {kilfull  gentlemen  and  other  great  muficiens  who  affirmed  the 

*  accent  of  the  words  to  be  well  mainteined,  the  defcant  not  hindred  (though  fome  fewe 

*  notes  altred)  and  in  euerie  place  the  due  decorum  kept :  I  was  fo  bolde  (beeing  well  ac- 
"*  qualuted  with  the  gentleman)  as  to  entreat  the  reft,  who  willingly  gaue  me  nich  as  he 

*  had  (for  of  fome  he  kept  no  copies)  and  alfo  fome  other  more  lately  done  at  the  requeft. 

*  of  his  particular  friends.     Now  when  the  fame  were  feen  to  arife  to  a  juft  number,  fuf- 

*  ficient  to  furnifh  a  great  fet  of  bookes,  diuerfe  of  my  friendes  aforefaid  required  with 

*  great  inftance  to  haue  them  printed,  whereunto  I  was  as  willing  as  the  reft,  but  could 

*  neuer  obtaine  the  gentleman's  confent,  though  I  fought  it  by  many  great  meanes.     For 

*  his  anfwer  was  euer,  that  thofe  trifles  being  but  an  idle  man's  exercife,  of  an  idle  fubjedl 

*  written  only  for  priuate  recreation,  would  blufti  to  be  feen  otherwife  then  by  twilight, 

*  much  more  to  be  brought  into  the  common  uiew  of  all  men.'  He  then  relates  that 
finding  that  they  \s.ere  about  to  be  printed  furreptitioufly,  he  ventured  to  publi(h  them 
laimfeif* 


'Chap.  7.      AND    PRACTICE    OF    MUSIC.  387 

10  compofe  original  madrigals  in  their  own  language,  which  were  fo 
well  received,  that  from  thenceforth  thofe  of  the  Italians  began  to  be 
'negleded. 

The  firfl:  colledion  of  this  kind  feems  to  be  that  of  Morley,  pub- 
liflied  in  1594,  entitled  *  Madrigalls  to  foure  voyces  newly  pubii(hed, 

*  the  firfl  book.' 

In  1597  N.  Yonge  above-mentioned,  who  then  called  himfelf  Ni- 
cholas, published  a  fecond  colledion  of  tranflated  madrigals  with  the 
title  of  Muiica  Tranfalpina,  the  fecond  part. 

In  the  fame  year  George  Kirbye  publifhed  a  fct  of  Englifh  ma- 
drigals for  four,  five,  and  fix  voices. 

In  1597  alfo,  Thomas  Weelkes  before  named  pnblifhed  *  Madrigals 
<  to  three,  four,  five,  and  fix  voices  j'  and  in  1598  •  Ballets  and  Madri- 

*  gals  to  five  voyces,  with  one  to  fix  voyces.' 

In  1598  Morley  publilhed  with  Englifii  words,  '  Madrigals  to  fiue 

*  voyces,  felefted  out  of  the  befl:  approued  Italian  authors.' 

This  colledtion  contains  madrigals  of  Alfonfo  Ferabofco,  Battifta" 
Mofto,  Giouanni  Feretti,  Ruggiero  Giouanelli,  Horatio  Vecchi, 
Ciulio  Belli,  Alefi^andro  Orologio,  Luca  Marenzio,  Hippolito  Sabino, 
Peter  Phillips,  Stephano  Venturi,  and  Giouanni  di  Macque,  moft  of 
which  are  excellent  in  their  kind,  but  no  mention  is  made  of  the 
authors  of  the  Englifh  words  5  it  is  therefore  probable  that  they 
were  written  by  Morley  himfelf,  who  had  a  talent  for  poetry  fuf- 
ficient  far  the  purpofe.  In  the  dedication  of  the  book  to  Sir  Geruis 
Clifton  is  this  remarkable  aphorifm,  *  Whom  God  loueth  not,  they 
"•  loue  not  mufique,* 

In  the  fame  year,  1598,  John  Wilbye,  a  teacher  of  mufic,  and 
who  dwelt  in  Auftin  Friars,  London,  publifhed  *  Madrigals  to  three, 

*  four,  five,  and  fix  voices,'  moft  of  which  are  excellent ;  this  which 
follows  is  the  tenth,  and  is  thought  little  inferior  to  the  beft  com- 
pofitions  of  the  kind  of  the  Italian  mailers. 


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fprout ing  the     rofes  rprouting     Ladie  when  I  be- 


i 


far 


^^ 


V  ''•     rofes        fprout ing  the     rofes  fprouting    Ladie  when  I  be- 


i 


J 


s 


fcr 


^ 


i 


y 


xz 


rofes    fproutlng  the  ro  — fes  fproutiAg^ 


^4V-o    ('  I         q 


^^ 


nz 


rofes        fprout  ._   —  ing 


Ladie  when  I  be- 


I 


S 


r    #  f 


XI 


P  1/ 1 1  r 


23 


hold  Ladie  when  I  I    behold        the  rofes    fprouting  the    rofes 


r  D  p  T  r 


f=  r   p   r 


^ 


hold  Ladie  when  I    behold        the  rofes    fprouting    the     rofes 


^ 


rn  r  r 


v=^ 


s 


Ladie  when  I    behold       the  rofes   fprouting    the     rofes 

.  p  n 


the    ro  _    _    fes 


hold 


'Chap.jf.       AND    PRACTICE    OF    MUSIC. 


389 


1  ''      fproutini 


f-f  r  ^»  L*; 


^ 


■x^ 


fprouting-  Mhich  clad  in  damal'k     mantles    deck         the    ar  ^ 

J2M- 


i^ 


:4: 


P 


=^ 


•I  '''      fproating  which    clad  in  damark     mantles    deck    tne        ar  — 

loi   ■■  I  M    1  I  r   r   r  r  I  r  ■  p  i»     .!,■'■'■ 


C 


tz^ 


fprouting  which  clad, in  damcifk     mantles  d*?vk    the         ar  


^-^  f  i  J  ?^J     J   I    M 


q—s" 


^ 


^ 


fprouting- which  clad  in  damafk    mantles   deck   the        ar 


N-f-H 


3 


p      q 


bors  which  clad  in  idamafk  mantles     deck  the    ar_  hours 


^f  If  rr  fir 


f  f  [w  1  'ig 


bcJl-s  which  clad  in  damafk  mantles  deck  the     ar —    hours 


»        f       P      f^\     f   •    0      ^ 


P P 


■m 


bors  which  clad,  in  damu{T<  niantles  deck  the 


^ 


ar  —  -.  hours 


^ 


^ 


bors  which  rlad  in  damyiV  mantles  deck  the  ar_  _  hours 


£ 


g 


P    '    P       F 


^ 


and  then  behold  your         lips 


and  then  behold  your. 


-« P 


g 


i       g 


and  then  be  -  ht>.d  your  lips 


and  then    be  — 


• » 


^     \f       9     \> 


4=n: 


? 


and  then  behold  your  lips 


and   then  behold  your 


390  HISTORY   OF  TH'E   SCIENCE    Book  IS. 


^^ 


-0 — 0- 


J    Jl   .1-.    J 


d        o 


lips  .and  then  behold  your       lips  where  fweet  loue 


^z=    *     P      ^       p     I  «^ 


n 


hold  your  lips  and  then  be  — hold  your  lips         where     fweet 


llUI  I      PQ         .         ^   I  bp     i» 


t 


3 


lips  and  then  behold  your       lips  M'here  fweet  loue 


■ '  \»    

1 '  .^* 

i* 

^ 

-    

\: 

' 

^ 

i 


Q        I  .       » — » 


£ 


.   ■     P       P 


^ 


har_   —   —  hours  my  eies  prefent   me    with   a  double 


'r  r/T'r.r 


i 


i     u     =M 


loue  har —  hours  my  eies  prefent  me  with  a  double 


XL 


W        9       P  «=g 


^3 


g         > 


izt 


har  _     __    _    hours 


my   eies    pre-fent  me  with  a 


^  ^    r  I T  r  r  ^p  I  r '  f^  f^ 


=^=1^ 


my        eies  pre-fent  me  with    a .      double  double 


'I  ir   r  ^-Mr  r  ^i^i  i  ^  J 


double  doubt— ing        a       double     double  doubt  ^  ing  my 

f::r:r-0— — T-f r ■ P    \  m  .  ^ r-^ Q-^ 


rn^r^ 


■f — ^ 


double  doubt —ing        a       double     double  doubt  _  ing  my  eies 


r  r  r^rir  ^^r'-^^l^  ^  1 


double  double  doubting  a  double  double  doubt ing 


my 


f: 


S 


doubt  —   —  -.  ing 


mv       eies 


pre  — 


Uh^-p.  75-      AMD    PftACTl'CE   OF   MUSIC. 


S9^ 


^=i.Tz:p-:r-ig=i: 


:d: 


::rr 


i 


p-efent  nie  with  a  douWe  double  doubt in^-        for  uiew- 

g  I  >  >  F  r — '— — ^^ ^ — ^^ — ^ ^ 


^^ 


--o- 


s 


■ffi 

6 


prefentme  with  a  double  double    doubt  — ing 


for 


P — F 


nig'^ 


^ 


eies  prefentme  with  a  double  double  doubt  —  ing       for  uie^jr- 


^ 


p    F  ii; 


I"  I       i  ' 


T 


fent  mcwith  a      double  double  doubt  ^^ ing        for  uiew- 


^ 


s 


.   J  Ir  r  °  ff 

J — I 1     1     — 


m 


-. ing-  both  alike  hard-lie  my   mind 


2? 


I 


fup  _  po  -.   ^ 


XX 


uiewing     both         a like  hard  -^  lie        my     mind  Tap-po  — 


i 


^ 


q    I   F 


g— r 


^  —  ing     both 


a  — 


^  like  hard  —  lie       my     mind  fup-po  « 


32 


bq    ' 


g 


^ 


ing 


both 


a  -. 


-«  like    hard  —lie       my     mindfup-po- 


^— -e- 


F        F       p       J  -       P 


F-"-y 


fes 


whether  the    ro  -_fes 


3^ 


^ 


fev 


whether  the    ro  ^  fes 


^S 


>^ 


i 


^ 


pz= 


fes  whether  the    ro  —  fes         be  your  lips 


r  g  ;.  r  r 


or  your 


fes 


whether  the  ro  _fes 


392         HISTORY    OF   THE    SCIENCE      Book  IIL. 


i 


^3=* 


h^\=z±: 


t  "^^ 


J^ 


^ -*— — : ^-- 

"     be  your  !ips  or  your   li 


ps  the  ro-fes 


-^ 0^ 


i 


4c 


be  your  lips  or  your    lips  tlie    ro_fa$ 


-^ 


^ 


lijps 


the 


ro  _    _    _   _  fes 


whether  the 


xr 


x: 


Ep: 


^^=P^ 


your 


lips 


■whether  the    ro  .,  fes 


»^## 


E3 


^^^=^ 


:f=2^ 


y     k  !    I 


li   whether  the  ro-^es       be  your  lips  or  your  lips  the  ro  _  -fes 


-fc-^ 


i 


m^ 


zza: 


^ 


fe 


"   whether  the  ro_fes      be  your  lips  or  your  lips   the  vo fes 


^'.'.zim 


0     g 


xr 


^ 


?^=* 


ro  —  fes       be  your         lips  or   your  lips  the     ro  —  fes 


^S 


i         ! 


n 


-g 


n 


be 


P — ^ 


your        lips  or  your  lips  the     rd fes 

^ &- 


i 


i 


for  uiewing    both         a like  hard   _  lie     my      mind  fuppo- 


t 


P 


qp=^ 


ij—r 


^^^ 


^ 


i      I    I 


•for  uiew  — ing;  both  alike  hard -lie         m^y  mind  fnp  —  po  _  —   -^ 


^ 


^^ 


3 


b: 


E 


± 


€ 


for  ulew  —  ing-     both        a  _  _  like     hard-lie      my    mind  fuppo- 


22 


E 


P     Q    1 


i 


for   uiew«in^      both 


^ 


—   —  like     hard -lie     my    mind  fuppo  ^ 


Ql^p.p     AND    PRACTICE    OF   MUSIC. 


192 


.-■        0 


r^f-r  If 


£ 


J E \^ ^ 


Mhether  the ro  — fes       be  y our 


T — r 


E 


?^ 


res 


whether  the  ro  —  Tes       be  your 


iMTT  f  r-^ 


m 


'f=F 


1  •  K-  n 


fes  -whethe  the   ro  _  fes       be  your      lips 


orvour      lips 


M 


)t 


'■O**' 


fes 


whether  the  ro  -fes 


be 


your 


>     > 


f— r— TT 


#*: 


^ 


iz^ 


lips  or  your  lips  the  rofes 


^^ 


whether  th  e  roXes 


^^ 


I       k     k 


'    lips  or  your  lips  the  rofes 


whether  the  ro  -fes 


p .  p"b 


£ 


*    p 


Sa 


ro  —    __    fes  whether  the  ro_ fes    be  your 


ii:i3: 


lips 


•whether  the  ro_fes 


be 


your 


ff^l  1   IfM 


*=fc 


r-y  '4-^- 


beyoar  lips  or  your  lips  the  ro  —  fes, 


lip 


tp^ 


'^^ 


v—v 


s 


I    be  your  lips  or  your  lips  the    ro — fes. 


in 


g     # 


^=rTT-rT 


j: 


E 


lips  ,  or  your  lips  the    ro  —  fes. 


« 


^ — O- 


■4       0      \  — 


-e — T 


P 


*-t- 


lips 


or  your    'ipsthe    ro  fes,    JOHN   \iILBYF. 


yoi.  Ill; 


Ggg 


394  HISTORY   OF   THE   SCIENCE     Dook  III, 

The  fame  Wilbye,  in  the  year  1600,  publidied  '  A  fdcond  fet  of 
'Madrigals  to  3,  4,  5,  and  6  parts,  apt  both  for  viols  and  voices;* 
dedicated  to  the  Lady  Arabella  Stuart. 


C     HAP.         VIM. 


N  1599  John  Bennet  publKhed  *  Madrigals  to  four  voyces,  being 
*  his  firft  works.'  He  alfo  compofed  a  madrigal  in  the  Triumphs  of 
Oriana,  and  fome  of  the  fongs  contained  in  a  book  written  by  Thomas 
Ravenfcroft,  and  publifhed  in  1614,  entitled  *  A  briefe  difcourfeof  the 

*  true  but  negleded  ufe  of  chara(5l'ring  the  degrees  by  their  perfedfciork, 

*  imperfedion,  and  diminution  in  menfurable  muficke,  againft  the 

*  common  pradice  and  cuftome  of  thefe  times.'  In  the  preface  to 
which  book  he  is  ftyled  a  gentleman  *  admirable  for  all  kind  of  com- 
pofures  either  in  art  or  ayre,   fimple  or  mixt.' 

Excepting  the  above  fhort  eulogium,  we  meet  with  no  particulars 
relating  to  this  perfon.  Wood  does  not  fo  much  as  mention  him, 
from  .which  circumftance  alone  it  may  not  only  be  inferred  that  he 
was  not  a  graduate  in  either  univeriity,  but  alfo  that  he  was  little; 
known  to  the  world  in  his  profeffion.  In  the  dedication  of  his  book 
of  Madrigals  to  Ralph  Aflietonj  Efq.  receiver  of  the  queen's  duchy 
revenues  in  the  counties  Palatine  of  Lancafter  and  Chefter,  it  is  hint- 
ed that  the  author  was  indebted  to  that  gentleman  both  for  his  pa- 
tronage and  his  education  ;  but  under  what  mafters  he  received  it  we 
are  at  a  lofs  to  find. 

..  The  madrigals  compofed  by  Bennet,  and  printed  in  the  colledion 
above-mentioned,  are  feventeen  in  nunVoer;  this  vvhich  follows  is 
the  tenth  of  them  ;  they  are  finely  fludied,  and  abound  with  all  the 
graces  and  elegancies  of  vocal  harmony  5  and  it  may  be  faid  of  the 
work  in  general,  that  it  is  an  honour  to  our  country,  and  in  no  ref- 
ped  inferior  to  any  colledion  of  the  kind  publifhed  by  the  Italian  or 
other  foreign  muficians.   , 


/' 


Chap.  8.       AND    PRACTICE    OF    MUSIC. 


395 


i 

That 

har— ^ 

tor 

l^TT 





-^ — 

u 

— ^ ^ 

r4 

V  '•     1 



-^ — 

— h- 

H^. 

Tiiat  har   _    -     _  bcr 


3 


l^=f=Q 


^ 


33: 


har  __    —     —    bor    dif-content       dif  -   —   con    -   _  tent 

-L 


-qr^ 


»•     ^o 


I 


*= 


4—*^ 


H e- 


thoiiglit.s  that  har—  bor  dif- content  that  harbor  dif—  con -teat 


noiig-nts  tn; 


0=5 


^ 


S5 


difcon—tent         dilcon-tent       thathar-bcr      dif content  that 


^ 


q     jf  c 


E 


? 


r-^-^ 


dif-  —content     dif  -    content  that  har—  bor      dif—  —  con 


J     -1  l-j  J  J 


P 


*i 


that     har  —  bor  dif  —    —    —.—     _     —    con   —  tent 


i 


J  ji  'i  " 


:tt: 


tbut  harbor   dif  —     —      —      —      —     —     — ,   coil    —     —  tent 


@ 


^^ 


i 


:F=J 


d  d  M  r 


i  ^^ 

— .  bor  difcontent 

that    har  ^ 

-  bor  dif  — 

—  -con -tent    ceafe 

l0:Jiq 

'^     1  '     P    p   ,1 

^. 

3 i     1  r  1 

E_ 

U-^ 

— ^ L-    !      ,     ■ 

rj 

1 . ,       .    

P- — i.J..n 

tent     elf—     __     —     _      _.     ^^-    —con  —    ^  tent  ceafe 

G  g  g  2 


396  HISTORY    OF    THE    SCIENCE      Book  III. 


-rr 


m       » 


P       P 


n: 


^ 


!l      ','   -^ 


P 


J 


cea^e  vouruiVau  ts  and  let  my  hart  \^\  —  ment  and 


:^ 


;  ^    » 


Jin: 


^ 


T 


?S 


? 


cea{e  yoiir  afsauh%  .usaults  and  let  my  hart  la  —ment  and 


T— r 


i 


^ 


-< — • — •► 


a  '1   II 

s 


y«ur  af- vaults  ceaft  year  af  —  saults       '      and    let   my  hart  la- 


:P=f- 


S 


»    .    P 


£ 


yoar  af-saults  ceafeyour  af  —  saults  and   let  my  hart  la- 


!      i     i>q 


^ 


i 


[  1/  \  t 


E 


let  my  hart  la —ment     la  — ment  and     let       my        *<>ng 


.1  J||J  ,HJ  J  J 


'      let  n>y  hart  la  —    -      -     — 


ment  la -ment  and  let  my  tong  and 


I  ni€ 


i 


'Q        !    \7D-     rj     I      t/g 


ment         and  let     my         hart  la -ment  and         let 


J  '  J I  q  r 


I 


^ 


lent  and      let      my      hart    la -ment  and      let 


1 


^ 


E 


± 


haue        leaue        to  tell  my 


g^reefe 


-'I'      q  I  u 


5 


T=t 


let  my  tong         haue    leaue     to      tell  my 


greefe 


i^^ 


-a 


fa 


fe 


i     r  r 


tzil 


-1 — 


fe 


my  tong     bane  leaue    tpQ     tell    Qmy       greefe        that       ^ 


lea  I 


1 — g- 


13 


ii;:i:=i 


toni^      haue'leaue     to         tell  my  greefe        that 


Chap.  8.       AND    PRACTICE    OF    MUSIC. 


397 


i 


PE?^ 


that       fhe       may    pi    _  tie 


t 


? 


^ 


^ 


^ 


4 


B 


that      fhe       may     pi -.tie     though  not  graqnt   re  -  ^ 


E 


is 


^ 


^ 


fhe  may   pitie    though  not  graunt      re  ^ 


prfp  r 


— .    —    —  leefe     re  _  -^- 


i 


^ 


? 


fhe  may   pitie    though  not  graunt  re   —leefe 


that 


i 

1 


i 


.1    J  iiJ    i  M    J    ^ 


^p 


T 


though  not  graunt  re^leefe  that   fhe  may      pi tie  though'nol 


^ 


i 


5 


.'  leefe 


f 


that    fhe     may      pi !tie  thoug4inof 


^^ 


i 


S 

€ 


^  i  N     ^ 


leefe  that    fhe     may     pi- tie  though  not  graunt  re  _  —  leefe 


rZsl 


i 


^^ 


fhe      may    pi  —tie   though  not  graunt  re  -  _  leefe 


re  -. 


i 


^ 


i 


^ 


.»    p 


ti 


[•^    graunt  re  —leefe 


■■\^    j  |-» 


t 


*F 


pitie  would  help    a  _  -las 


P 


? 


Y^gruunt  releefe  pi -tie  would  help  a -las  pi    —  tie  wouldhelpa 


T-#- 


s 


i 


releefe  pi  —tie  would  help  a  —las 


■T-^' 


fef^ 


M'hat 


-T—t 


leefe 


pitie  would  help  a las 


398  HISTORY    OF    THE    SCIENCE       Book  IiL 


m 


i 


■+- h 


o      I      J 


TSpr. 


'J 


whut 


f 


■^ 


:q=: 


loiie        bath       al moft        fla-ne     al 


± 


^^ 


2J 


las     'Ahat     love    hath      al  _  moft     1  laine     what      loue    hath 


s= 


^ 


ei 


■e— 


IZL 


^ 


k 


ioue     hath     al— moft  flaine        what* 


loue  hath 


an^: 


3S 


5 


? 


vvhit       loue    hath        al— moft     fluirMC   what.        loue     hath 


i 


_f_._ 


moft 


flaine  hath 


al  —    —moft 


flaine 


^ 


^ 


g     I    o 


al  _    —    —    _     -    moft     flaine      hath     at  —  moft      flaine   and 


-^. ^ 


^— ^ 


i     d    f    ^ 


al moft  flaine 


hath         al  -moft      flaine      and 


^ 


:t^ 


-r 


-n 


J — u 


al  — .  moft      flaine  what      Icue     hath  al-moft 


flaine 


f^'^W- 


S 


-=— •- 


^ 


and     heal  the  wound  by  conquVIng' 


am 


s 


-M^ 


heal  the  wound  by  conquring 


fli  f  •  r  ^r 


41-1 


by         conqu*  _    «, 


^5 


^^ 


^ 


heal  the  wound    by         -CoruiuVine    her  by     conciuVinsr    . 


and     heal  the  wound  by  conqu'ring 


Ch:p.  8.     AND    PRACTICE    OF    MUSIC. 


399 


■*^    her    dif-duine        her 


^3 


fi«  ii    " 


^ 


dif  —    —     —    _    _  daine      bv    — 


^1=-fP^1^=P 


S 


^    ring^    her     dif daine    _     _     _  by        conquring 


^ 


^^ 


=;?: 


her  dif— daine        by        '      conquVing;  her  dif—  daine     by 

'=  r  r  I  r  r  ^f  ^ 


^ 


:^ 


m 

i     ;      :       I.  


her  dif— daine   by    concjuVlng       her  dif  —  daine      by 


^ 


H 


^-^-P^p 


conqu  *ring     her      dif  -  daine. 


]12± 


V  '        her        dif  _  daine  her    _  _        dif  ^  daine. 


^i 


4-t- 


3D: 


H 


4-t- 


conquVing;  her  dif—   —  daine. 


^ 


tonquVins;  her  dif —   — daine. 


JOHN   RENNET. 


40O 


HISTORY   OF   THE   SCIENCE     Booklll. 


John  Farmer,  of  whom  mention  has  already  been  made,  vol.  II.- 
page  361,  publilhed  in  the  fame  year,  1599,  *  The  firft  Sett  of  Eng- 
*  lifh  Madrigals  to  four  voices.'  In  the  preface  to  this  work  the  au- 
thor profefles  to  have  fo  fully  linked  his  mufic  to  number,  as  each 
give  to  other  their  true  cfFedV,  which  is  to  move  delight;  this  virtue 
being,  as  he  fays,  fo  fingular  in  the  Italians,  as  under  that  enfiga 
only  they  l.iazard  their  honour. 

The  following  madrigal  is  the  firft  in  the  colledion.r 


f '  J   r^^>>ii  Mifi 


(-' ■f'V'T'- 


=s 


=•-; 


-T — "-f-^'  \ '[   r, 


tM^ef^y-¥l<>wer«  that  fmile  forromers    fake  putl  in 


^ 


:^rzx: 


^ 


-• r 


S 


:^OC  pret-ty  flowers  that  Onilefor  fomers     Take  .  pofU 


^ 


B 


-rr 


■  *  P 


^ 


yOL'  pret-ty  flowers  that  fmile  for  fonfter.s  fake         pull 


pull 


»=S 


t~7'f~i~F 


^ 


n 


^^ 


4^ 


your 


heads  be -fore  my  watry     eiesdo 


Iq   ^    '  I  >     » 


i 


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f r-H 1 — 


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V — ^ 

in  your  hea-ds  pull  in  pull  in  your  heads   be-fore  my  watry     eies 


-< r-^ 


in 


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Chap.  8.     AND  PRACTICE  OF  MUSIC.  ^ot 


xc 


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Vol.  III. 


Hhb 


402         HISTORY   OF   THE   SCIENCE      Book  Illi 


^ 


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feeding  mine 


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^ 


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'4p4         history  of  the  science    Booklll. 


^m 


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JOHN    FARMER 


Chap.  9.       AND    PRACTICE    OF    MUSIC.  40; 


CHAP.  IX.  5 

THE  names  of  other  compofers  of  madrigals  occur  about  this  time, 
or  within  a  few  years  after,  the  chief  of  whom  were,  Henry 
Youll,  John  Ward,  Michael  Efle,  bachelor  of  mufic,  and  mafter  of  the 
choriders  in  the  cathedral  of  Litchfield,  and  Orlando  Gibbons.  And 
here  it  may  be  remarked,  that  of  the  authors  above  enumerated,  fome 
only  appear  to  have  been  graduates  in  one  or  other  univerfity,  or  bene- 
ficed muficians  in  fome  cathedral  or  collegiate  church  j  as  to  the  reil, 
the  appellation  affumed  by  them  is  fimply  that  of  praditioner  in  mufic. 
Youll  and  Farmer  have  no  other  adjund  to  their  refpedive  names,  and 
Batefon  retained  it  till  he  acquired  the  degree  of  bachelor. 

Befides  the  feveral  colledions  of  madrigals  above  mentioned,  there 
is  one,  the  title  whereof  is  perpetually  occuring  in  the  Faili  Oxonien- 
fes.  It  is  called  the  Triumphs  of  Oriana,and  frequently  in  Wood's  illi- 
beral manner  of  exprefiing  himfelf,  the  whole  colledion  is  called  the 
Orianas.  It  feems  by  the  work  itfelf  as  if  all  the  muficians  of  queen 
Elizabeth's  time  who  were  capable  of  compofing,  had  endeavoured 
each  to  excel  the  other  in  fetting  a  fong,  celebrating  the  beauty  and 
virtues  of  their  fovereign  j  for  to  the  Triumphs  of  Oriana  it  appears 
that  the  following  muficians  contributed,  namely,  Michaell  Efi:e,  Da- 
niel Norcome  *,  John  Mundy,  Ellis  Gibbons  -f,  John  Bennet,  John 
Hilton  J,  George  Marfi:on  f ,  Richard  Carleton,  John  Holmes  ||,  Ri- 
chard Nicholfon  §,  Thomas  Tomkins,  Michael  Cauendifli,  William 
Cobbold,  Thomas  Morley,  John  Farmer,  John  Wilbye,  Thomas 
Hunt,  Thomas  Weelkes,  John  Milton  *,  George  Kirbye,  Robert 
Jones  -f-,  John  Lifley,  and  Edward  Johnfon.  This  colledion  was 
published  by  Morley  with  the  title  of*  The  Triumphs  of  Oriana,  to  five 
and  fix  voices,  compofed  by  divers  authors,  Lond.  1601.' 

*  A  clerk  or  finging-man  at  Windfor.     Temp.  Jac.  I. 

■\  Ellis  Gibbons  organift  of  Salifbury,  and  brother  of  the  famous  Orlando  Gibbons, 
mentioned  hereafter. 

t  Bachelor  of  mufic,  and  organift  of  the  church  of  St.  Margaret,  Weftminfter. 

If  Mentioned  in  Sir  Anthony  Weldon's  Court  and  Charader  of  King  James,  pag.  ic6. 

11  Oigiiiiift  of  Saliibury.     Temp.  Eiiz. 

§  The  fnft  profeflbr  of  mufic  at  Oxford  under  Dr.  Heather's  endowment. 

•  The  father  of  the  poet,  t  A  famous  lutenift  and  compofer  for  the  lute. 

Vol.  III.  lii  The 


4o6  HISTORY   OF   THE    SCIENCE     BookllL 

The  occafion  of  thiscolledlion  is  faid  to  be  this ;  the  lord  high  admi- 
ral Charles  Howard,  earl  of  Nottingham,  was  the  only  perfon  who  in 
the  laft  illnefs  of  Elizabeth  could  prevail  on  her  to  go  into  and  remain 
in  her  bed  *i  and  with  a  view  to  alleviate  her  concern  for  the  execu- 
tion of  the  earl  of  Eflex,  he  gave  for  a  prize-fubje6l  to  the  poets  and 
muficians  of  the  time,  the  beauty  and  accompli(hments  of  his  royal 
miflrefs,  and  by  a  liberal  reward  excited  them  feverally  to  the  com- 
pofition  of  this  work.  This  fuppofition  is  favoured  by  the  circum- 
flance  of  its  being  dedicated  to  the  earl,  and  the  time  of  its  publication, 
which  was  in  the  very  year  that  Eflex  was  beheaded.  There  is  fome 
piece  of  fecret  hiflory  which  we  are  yet  to  learn,  that  would  enable  us 
to  account  for  the  giving  the  queen  this  romantic  name;  probably  (he 
was  fond  of  it,  Camden  relates  that  a  Spanifli  ambaflador  had  libel- 
led her  by  the  name  of  Amadis  Oriana,  and  for  his  infolence  was  put 
under  a  guard.     Vide  Rapin,  vol.  II.  pag.  88.* 

*  Vide  Hift.  View  of  the  Negoclations  between  the  Courts  of  England  and  France,  by 
Dr.  Birch,  pag.  208.     Biogr.  Brit.  vol.  IV.  pag.  2678. 

t  la  the  Triumphs  of  Oriana,  madrigal  VIII.  is  the  following  paflage  : 

*  Thus  Bonny  Boots  the  birth-day  celebrated 
'  Of  her,  his  lady  deereft, 

*  Fair  Oriana  which  to  his  hart  was  nearefl.' 

And  in  Madrigal  XXIV.  this : 

«  For  Bonny  Boots  that  fo  aloft  could  fetch  it, 

*  Oh  he  is  dead,  and  none  of  us  can  reach  it.' 

Again,  in  the  firft  of  Morley's  canzonets  of  five  and  fix  voices,  publiihed  In  1607,  he 
is  thus  mentioned  i 

*  Fly  loue  that  art  fo  fprightly, 
'  To  Bonny  Boots  uprightly, 

'  And  when  in  heaven  thou  meet  him,, 

*  Say  that  I  kindly  greet  him, 
^  And  that  his  Oriana 

'  True  widow  maid  ftill  follaweth  Diana.* 

And  again  his  name  occurs  in  the  ninth  canzonet  in  the  fame  collc6lioni. 

*  Our  Bonny  Boots  could  toot  it, 

*  Yea  and  foot  it, 
<  Say  luftie  lads,  who  now  fliall  Bonny  Boot  it? 

Bonny  Boots  feems  to  be  a  nick-name  for  fome  famous  finger,  who,  becaufe  of  his  ex:- 
cclient  voice,  or  for  fome  olher  reafon,  had  permiirion  to  call  the  queen  his  Lady  ;  pof- 
&b\)'  the  perfon  meant  might  be  one  Mr.  Hale,  of  whom  mention  is  made  by  Sir  WIl- 


ehap.  9.       AND    PRACTICE    OF    MUSIC.  407 

In  the  reign  of  James  I.  the  praaice  of  finging  madri^-als  de- 
clined Co  fafl,  that  few,  if  any,  colledions  of  them  were  pubhlh- 
ed  after  tJie  year  1620,  the  reafon  of  which  may  be,  that  the  enter- 
tainments of  his  court  were  for  the  mofl  part  mafques  and  other 
theatrical  reprefentations,  with  which  mufic,  at  leall  that  kind  of  it 
which  required  much  Ibll  in  the  compofition,  had  little  to  do.  The 
merit  of  thefe  entertainments  confifted  either  in  the  quaintnefs  of 
the  device  or  fable,  if  it  may  be  fo  called,  the  magnificence  of  the 
fcenes,  the  artificial  conftrudion  of  the  machinery,  or  in  the  fplendid 
decorations  of  the  theatreor  place  of  exhibition;  and  it  is  well  known  ■ 
that  Jonfon  waded  much  of  his  time  in  compofing  little  interludes 
of  this  kind  ;  and  that  Inigo  Jones  was  condemned  to  the  taik  of 
ftudying  decorations  for  them,  and  exercifing  his  luxuriant  invention 
upon  no  better  materials  than  pafleboard  and  canvas. 

liam  Segar,  in  his  account  of  a  folemn  tilt  or  exercife  of  arms,  held  in  the  year  i  <qo  be 
fore  queen  Elizabeth  in  the  Tilt-yard  at  Weftminfter,  with  emblematical  reprefentat'ions 
and  mufic.  in  which  the  above-mentioned  Mr.  Hale  performed  a  part  by  fineini?  the  fol 
lowing  foiig;  ■^         7       a    b  *  ^  iwt  ' 

*  My  golden  locks  time  hath  to  filuer  turn'd  ' 
«  (Otime  too  fwift,  and  fwiftnes  neuer  ceafing) 

*  My  yourh^'gainft  age,  and  age  at  youth  hath  fpurn'd. 

*  But  iparn'd  iauaine  ;  youth  waineth  by  encreafing, 

«  Beauty,  ftrength,  youth,  are  Cowers  that  fading  beene,  . 
«  Duety,  faith,  loue,  are  rootes  and  euergreene. 

*  My  helmet  now  (hall  make  an  hiue  for  bees, 

*  And  louers  fongs  fliall  turn  to  holy  pfalmes  j 

*  A  man  at  armes  muftnow  fit  on  his  knees, 

*  And  feed  on  prayers  that  are  old  ;.;^es  almes  j 

*  And  tho  from  court  to  courge  1  depart, 

*  My  faint  is  fure  of  mine  unlpotted  hart.  . 

*  And  when  I  fadly  fit  in  homely  cell, 

*  I'll  teach  my  fwaines  this  carrol  for  a  fong 

*  Blefl:  be  the  hearts  that  thinke  myfouereigne  well, 

*  Curs'd  be  the  ioules  that  thinke  to  doe  her  wrong. 

*  Goddefle.  uoucrfafe  this  aged  man  his  right, 

*  To  be  your  bcadiman  no^v,  that  was  your  knight.' 

Sir  William  Segar  foys  of  this  perfon  that  he  was  «  her  majefties  feruant,  a  gentleman 
«^m  that  arte  excellent,  and  for  his  u^ice  both  commendable  and  admirable.'  T.eatife  of 
Honour  Military  and  Civill,  iib.  III.  cap  54.  And  Sir  Henry  Wotton  in  his  Parallel  . 
between  the  Earl  of  EfTex  and  the  Duke  of  Bu  kingham,  fays  that  a  fonnct  of  the  earl's 
was  upon  a  certain  occafi.,n  fu.  g  before  the  queen  by  (^ne  t.alcs,  in  whofe  voice  flie  took 
lome  pleaiure.     Rehquse  Wotconianie,  bvo,  1685,  page  165. 

Of. 


4o8  HISTORY    OF    THE    SCIENCE      Book  III. 

Of  the  madrigal  it  has  already  been  faid,  that  it  was  a  fpecies  of 
vocal  harmony  very  elegant  in  its  ftrud:ure,  and  adapted  to  fuch  poe- 
try as  was  fit  to  be  fung  or  uttered  in  the  hearing  of  the  moft  polite 
and  well-bred  perfons.  Songs  in  this  form  for  three,  four,  and  more 
voices  were  the  entertainment  of  perfons  of  rank  and  fafhion,  young 
gentlemen  and  ladies,  and,  in  a  word,  of  the  better  fort. 

Other  kinds  of  vocal  harmony  there  were,  in  which  the  humour  of 
the  words  was  more  regarded  than  the  goodnefs  of  the  metre,  juftnefs 
of  thought,  propriety  of  expreflion,  or  any  other  the  requifites  of 
good  poetry.  Short  poems  of  this  kind,  fuited  to  the  humours  of  the 
vulgar,  were  fet  to  mufic  in  the  form  of  canon  in  the  unifon,  gene- 
rally in  three,  and  fometimes  in  four,  five,  fix,  and  fo  on  to  many 
more  parts.  Befides  which  we  meet  about  this  time  with  little  com- 
pofitions  for  three  and  four  voices,  called,  for  what  reafon  it  is  not 
eafy  to  fay,  Freemens'  Songs  *.  The  fentiments  contained  in  thefe 
poetical  compofitions  were  in  general  not  very  favourable  to  good 
manners,  for  if  they  were  not  fatyrical,  they  were  in  general,  exhor- 
tations to  riot,  diffipation,  or  incentives  to  lewdnefs,  to  drinking,  and 
fmoaking  tobacco,  in  a  vein  of  humour  adapted  to  a  tavern  or  an  ale- 
houfe,  or  to  thofe  houfes  of  lewd  refort,  where,  as  we  are  told,  in 
the  time  of  queen  Elizabeth  the  females  in  aid  of  their  perfonal 
charms  were  able  to  join  that  of  mufic,  and  thereby  become,  as  Of- 
borne  wittily  conceives  it,  like  a  trap  baited  at  both  ends  -f-. 

*  In  a  book  intitled  *  Deuteromella  :  or  the  fecond  part  of  Mufic's  Melodic,'  printed  in 
1609,  are  many  of  this  kind.  However  difficult  it  may  now  be  to  account  for  this  term, 
it  v^as  formerly  well  underftood  ;  for  Urry,  in  his  Gloflary  to  Chaucer,  Voce  Verilaye, 
from  the  French  Virelale,  upon  the  authority  of  Biountj  interprets  it  a  roundelay,  country 
ballad  or  Freeman's  Song. 

t  In  Marlfon's  play  of  the  Dutch  Courtezan,  F'rancefchina  fings  to  her  lute;  and 
in  the  comedy  of  the  Alchemifl:,  a£l  III.  fcene  iii.  after  Face  has  engaged  the  Spa- 
uirti  count,  as  he  takes  him  to  be,  to  make  a  vifit  to  Do!  Common,  he  inftru£ts  her  to 
trick  herfelf  out,  and  prepare  to  receive  him,  adding,  '  You  muft  tune  your  virginal.' 
But  the  inftrument  mofl:  in  ufe  with  the  women  above  fpoken  of  was  the  Cittern,  as  being 
light  and  portable  like  the  lute,  to  which  it  boie  a  near  refemblance.  When  Dapper  in 
the  Alchemift  is  blinded  with  a  rag,  and  made  to  throw  away  his  money,  Doll  perfonates 
the  queen  of  Fairy,  and  enters  with  a  cittern.  Again,  in  the  Volpone  of  the  fame 
author,  Corvino  ironically  exhorts  his  wife  Celia  not  to  dally  with  his  jealoufy,  but  at 
©nee  to  proflitute  herfelf  to  the  fuppofed  mountebank  who  had  courted  her  at  her  window, 

*  Get  you  (fays  he)  a  Cittern,  Lady  Vanity,  and  be  a  dealer  with  the  virtuous  man.' 

A£lll.  Scene  v. 

The  manners  of  taverns  and  alehoufes,  and  more  particularly  of  ordinaries,  which 
were  formerly  the  refort  of  gamefters  and  fharpers  of  all  kinds,  of  young  fpendthrift«,  and 

men 


Chap.  9.     AND    PRACTICE    OF    MUSIC.  40 ) 

Many  ancient  fongs  of  this  kind,  fet  in  the  form  of  canon  in  the 
unifon,  or,  as  it  was  otherwife  called,  round  or  catch,  where  the 
words  of  one  part  fell  in  with  thofc  of  the  other,  are  yet  extant,  {0 
finely  fuited  with  apt  melody  and  delightful  harmony,  that  the  b.:il 
muficians  of  later  times  have  in  vain  endeavoured  to  equal  them. 

Much  of  the  humours  and  manners  of  the  people  of  this  country 
at  different  periods,  is  to  be  colledted  from  vulgar  and  favourite 
{ongs  and  ballads.  Thefe  were  of  various  kinds,  namely,  amor- 
ous ditties,  of  which  fpecimens  have  already  been  given,  rhvmin-'- 
hiftories,  and  popular  (lories,  fome  founded  in  truth,  others  mere 
fitltion.  Of  thefe  a  collecflion  is  extant  in  the  library  of  Magdalen 
college,  Cambridge,  made  by  Samuel  Pepys,  Efq.  fecretary  of  the 
admiralty  in  the  reigns  of  Charles  and  James  II.  but  the  vnoil  curious 

^en  of  the  town,  are  very  accurately  defcrlbed  in  the  moft  ancient  of  our  EngHfh  come- 
dies ;  and  from  a  very  diverting  little  book  intitled  The  School  of  Abufe,  written  by  Ste- 
phen Goflbn,  and  printed  in  1579,  and  again  in  1587,  we  learn  that  piping,  fiddling, 
and  dancing  were,  as  he  calls  them,  the  mifchievous  exerclfes  of  his  time,  and  were  prac- 
tifed  as  well  in  houfes  of  evil  fame,  as  at  the  theatres  and  other  places  of  public  refort ;  for 
fpeaking  of  the  keepers  of  fuch  houfes,  he  fays,  *  If  any  part  of  mufick  haue  fuffered  ftiip- 

*  wreck,  and  arriued  by  fortune  at  their  fingers  ends,  with  a  fliew  of  gentilitie  they  take 

*  up  fayre  houfes,  receive  luftie  laffes  at  a  price  for  boorders,  who  pype  from  mornyng  to 
«  euening'for  wood  and  coals.  ******  If  their  houfes  be  fearched,  fome  Inftrument  of 
-•  muficke  is  laide  in  fyght  to  dazel  the  eies  of  euerie  ofiiccr,  and  all  that  are  lodged  in  the 

*  houfe  by  nyght,  or  frequente  it  by  dale,  come  thither  as  pupils  to  be  well  fchooled.* 
After  the  fuppreffion  of  the  public  flews,  of  which  there  were  many  fituated  on  the 

bank  fide  of  the  river  Thames  in  Southwark,  the  women  who  lived  by  proftitutlon  took 
-refuge  in  fmall  taverns  and  alehoufes,  in  the  manner  above  defcribed,  the  keepers  of  which 
encouraged  them  as  the  means  of  drawing  cuflomers  to  their  houfes.  In  the  city  their 
nations  were  chiefly  Black  and  "White  Friars,  which  were  both  in  fome  refpeds  exempt 
jurifdidions;  but  their  general  places  of  refidence  were  Newington,  Ratciiffe,  Iflington, 
Hoxton,  Shoredltch,  St.  Catherine's,  Holborn.  St.  Giles's,  Ave  Maria  alley,  and  a  place 
in  Turnmill  ftreet  called  Pickt,  i.  e.  [piked]  Hatch,  from  a  famous  brothel  there,  on  the 
hatch  or  door  whereof  were  placed  fpikes  to  keep  out  conflables  and  others  who  came  to 
apprehend  lewd  women  ;  and  other  places  adjacent  to  the  fuburbs  of  London.  In  Hilton's 
little  book  of  Catches,  Rounds  and  Canons,  printed  in  1652,  and  in  Playford's  Mufical 
Companion,  1673,  pag.  55,  is  a  round  to  the  following  words: 

*  He  that  will  an  alehoufe  keepmufl  have  three  things  in  flora, 
'  A  chamber,  and  a  feather-bed,  a  chimney  and  a 

plainly  alluding  to  the  pra£lice  above-mentioned. 

And  fo  lately  as  about  the  year  1724.  a  fmall  pamphlet  in  two  parts  was  publilned,  in- 
titled  '  A  Guide  to  Malt-worms,'  in  doggrcl  verfe,  directing  to  the  mofl  noted  alehoufes 
in  and  about  London  and  defcribing  the  humours  of  alehoufes  in  general  ;  and  to  fuch  of 
them  as  had  the  accommodations  above  enumerated,  the  reader  is  referred  by  this  enigma- 
tical recommendation,  *  Fly  your  kite  :'  from  whence  we  may  infer  how  lately  it  is  that 
women  of  this  occupation  have  been  able  to  fet  up  for  themfelves. 

Vol.  Ill  K  k  k  cf 


4IO  HISTORY    OF    THE    SCIENCE       Book  III. 

of  the  kind  is  that  lately  given  to  the  world  by  the  Rev.  Dr.  Thomas 
Percy,  intltled  Reliques  of  ancient  Englidi  Poetry,  which  is  not 
more  valuable  for  its  contents,  than  for  the  effays  contained  in  it  on 
the  fubjeds  of  the  ancient  Engliih  minftrels,  ancient  metrical  ro- 
mances, the  origin  of  the  Englifh  flage,  and  the  metre  of  Pierce- 
Plowman's  Vifion. 

To  this  latter  coUedion  the  inquifitive  reader  is  referred  for  the 
hiftory  of  this  fpecies  of  poetry  daring  a  period  of  near  three  hun- 
dred years.-  All  that  is  neceflary  to  remark  in  this  place  is,  that,  ex* 
cepting  ancient  fongs  and  catches,  fome  of  which  will  hereafter  be 
inferted,  the  ballads  above-mentioned,  with  many  others  of  the  like 
kind,  were  the  entertainment  of  the  common  people  :  they  were  till 
the  beginning  of  this  century,  and  for  about  ten  years  after,  printed 
on  the  old  black  letter  type ;  and  were  originally  vended  by  perfons 
who  were  capable  of  finging  them  to  fome  well  known  tune,  who, 
in  London  at  lead,  did  not  wander  about  the  Greets  for  that  purpofe,. 
but  fold  them  in  flails. 

Who  was  the  author  of  the  colledion  intitled  Robinhood's  Gar- 
land no  one  has  yet  pretended  to  guefs.  As  fome  of  the  fongs  have 
in  them  more  of  the  fpirit  of  poetry  than  others,  it  is  probable  it  is 
the  work  of  various  hands ;  that  it  has  from  time  to  time  been  va- 
ried and  adapted  to  the  phrafe  of  the  times  is  certain. 

The  legend  of  Robinhood  is  of  great  antiquity,  for  in  the  Vifioa 
of  Pierce  Plowman,  written  by  Robert  Langlmd  or  Longland,  a  fe- 
cular  prieft,  and  a  fellow  of  Oriel  college,  and  who  flouiifLed  in  the 
reign  of  Edward  III.  is  this  paflage  : 

51  cannot  pcifit!p  mp  gJatcr  mtitt,  a^  t^e  ^utt  it  fingctlj:, 
51  can  nmc<J  of  i!!ctJen(|oti  anti  li^antJnl  of  €|cfifcr, 
$5iit  of  our  %otht  or  our  Satsp  ^  htnt  notljpng  at  alh 
yet  Ames  takes  no  notice  of  any  early  impreflion  of  his   fongs.     He 
mentions  one  only,  intitled  *  King  Edward,.  Robinhood,    and  Little 
John,'  printed  by  Caxton,  or  at  leaft  in  his  houfe,  about  the  year 
1500  i  the  laft  edition  of  his  Garland  of  any  worth  is  that  of  17T9. 

The  hiftory  of  this  popular  hero  is  but  little  known,  and  all  the 
fcattered  fragments  concerning  him,  could  they  be  brought  together, 
would  fall  far  (hort  of  fatisfying  fuch  an  enquirer  as  none  but  real 
and  well-authenticated  fads  will  content.  We  muft  take  his  ftory  as 
we  find  it.     Stow  in  his  Annals  gives  the  following  account  of  him. 

«  la 


Chap.  9.      AND    PRACTICE    OF    MUSIC/  ^ix 

*  In  this  time  (about  the  year  1190,  in   the  reign  of  Richard  I.) 

*  were  many  robbers  and  outlawes,  among  which  Robin  Hood  and 

*  little  John,  renowned  theeves,  continued  in  woods,  defpoyling  and 

*  robbing  the  goods  of  the  rich.     They    killed   none  but  fuch    as 

*  would  invade  them  j  or  hj  refiftance  for  their  own  defence. 

*  The  faide  Robert  entertained  an  hundred  tall  men  and  good  ar- 

*  chers,  with   fuch  fpoiles  and  thefts  as  he  got,  upon    whom   four 

*  hundred  (were  they  ever  fo  ftrong)  durft  not  give  the  onfet.     He 
«  fufFered  no  woman  to  be  opprelTed,  uiolatcd,  or  otherwife  molefted  ; 

*  poore  mens  goods  he  fpared,   abundantlie  relieuing  them  with  that 

*  which  by  theft  he  gat  from  abbies,  and  the  houfes  of  rich  earles  .- 

*  whom  Maior  (the  hiftorian)  blameth  for  his  rapine  and  theft  ;  but 
«  of  all  theeues  he  afiirmeth  him  to  be  the  prince  and  the  moft  gentle 

*  theefe.'     Annals,  pag.  159. 

Bifliop  Latimer,  in  his  Sermons,  tells  the  follovs^ing  flory  relating 
to  him. 

*  I  came  once  myfelfe  to  a  place,  riding  on  a  journey  homeward 

*  from  London,  and   I  fent  word   ouer  night  into  the  town  that  I 

*  would  preach  there  in  the  morning,  becaufe  it  was  holyday,  and 

*  me  thought  it  was  an  holidayes  worke  j  the  church  ftoode  in  jny 

*  way,  and  I  took  my  horfe  and  my  company  and  went  thither  (I 

*  thought  I  fhould  have  found  a  great  companye  in  the  church)  and 

*  when  I  came  there  the  church  doore  was  faft  locked,  I  taryed  there 

*  halfe  an  houre  and  more,  and  at  laft  the  key  was  found,  and  one 

*  of  the  pari(h  comes  to  me  and  fayes  Syr,  this  is  a  bufie  day  with  us* 

*  We  cannot  heare   you,  it  is  Robinhoodes  daye.     The  parifli  are 

*  gone  abroad  to  gather  for  Roblnhoode,  I  pray  you  let  them   not. 

*  I  was  fayne  there  togeue  place  to  Robinhoode  :  I  thought  my  Ro- 

*  chet  would  have  been  regarded  though  I  were  not  :   but  it  would 

*  not  ferue,  it  was  faine  to  geue  place  to  Robinhoodes  men.'     Ser- 
mon VI.  before  king  Edward  VI.  fol.  74.  b. 

Sir  Edward  Coke,  in  his  third  Inftitute,  pag.  197,  fpeaks  of  Ro* 
binhood,  and  fays  that  men  of  his  lawlefs  profeffion  were  from  him 
called  Roberdfmen  :  he  fays  that  this  notable  thief  gave  not  only  a 
name  to  thefe  kind  of  men,  but  that  there  is  a  bay  in  the  river  of 
in  Yorkshire,  called  Robinhood's  bay.  He  farther 
adds,  that  the  ftatute  of  Winchefter,  1 3  Edward  I.  and  another  fta- 

K  k  k  2  tute 


4ia  HISTORY    OF    THE    SCIENCE       Book  III. 

tute  of  5  Edward  III.  were  made  for  the  punidiment  of  Roberdfmen 
and  other  felons. 

Drayton  in  his  Polyolbion,  fong  26,  thus  charadlerizes  him  : 

*  From  wealthy  abbots  chefts,  and  churches  abundant  ftore, 

*  What  oftentimes  he  took,  he  fhar'd  amongft  the  poore. 

*  No  lordly  Bifhop  came  in  lufty  Robin's  way, 

*  To  him  before  he  went,  but  for  his  pafs  muft  pay. 

*  The  widow  in  diftrefs  he  gratioufly  reliev'd, 

«  And  remedied  the  wrongs  of  many  a  virgin  griev'd.' 
Hearne  in  his  Gloffary  to  Peter  Langtoft,  voce  rtoiW,  inferts  a 
manufcript  note  out  of  Wood,  containing  a  pafTage  cited  from  John 
Major,  the  Scotti(h  hiflorian,  to  this  purpofe,  that  Robinhood  was 
indeed  an  arch-robber,  but  the  gentelleft  thief  that  ever  was  j  and 
fays  he  might  have  added,  from  the  Harleian  MS.  of  John  Fordun's 
Scottish  Chronicle,  that  he  was,  though  a  notorious  robber,  a  man 
of  great  devotion  and  charity. 

He  is  frequently  called  Robert  earl  of  Huntington  ;  and  there  is 
extant  a  dramatic  hiftory  of  his  death  that  gives  him  this  title.  There 
is  alfo  extant  a  pedigree  of  his  family,  which  fhews  that  he  had  at 
leaft  fome  pretenfions  to  the  earldom.  Neverthelefs  the  moft  ancient 
poems  on  him  make  no  mention  of  this  title  ;  and  in  a  very  old  le- 
gend in  verfe,  preferved  in  the  archives  of  the  public  library  of  Cam- 
bridge, he  is  exprefsly  afTerted  to  have  been  fimply  a  yeoman  *. 

Dr.  Stukeley,  in  his  Palaeographia  Britannica,  No.  i  J,  1746,  has, 
given  an  account  of  the  defcent  of  this  famous  perfon  to  this  purpofe,^ 
viz.  that  his  true  name  was  Robert  Fitz-Ooth,  but  that  agreeable  to 
the  practice  in  the  north  of  England,  the  two  laft  letters  of  his  name 
were  contraded  into  d,  whence  he  was  called  Hood ;  that  he  was  a  man 
of  rank,  being  grandfon  of  Ralph  Fitz-Ooth,  a  Norman  eariof  Kyme,^ 
whofe  name  appears  in  the  roll  of  Battel! -Abbey,  and  who  came  into 
England  with  William  Rufus. — That  Robin  Hood's  maternal  grand- 
father was  Gilbert  de  Gient,  earl  of  Lincoln  ;  his  grand  mother  was  the. 
Lady  Roifia  de  Vere,  fider  to  the  earl  of  Oxford,  and  countefs  of 
Effex,  from  whom  the  town  of  Royrton  where  (he  was  buried,  takes 
its  name.  Rcbin  Hood's  father  William  was,  in  thofe  times  of  feu- 
dal dependence,  a  ward  of  Robert  earl  of  Oxford,  who  by  the  king's 
order  gave  to  him  in  marriage  the  third  daughter  of  lady  Roifia. 
*  VideReliques  of  Ancient  EngUQi  Poetry,  vol.  I.  pag.  81. 

Robins 


Chap.  9.       AND    PRACTICE    OF    MUSIC.  413 

Robinhood  had  for  his  coat-armour  Gules,  two  bends  engrail- 
ed. Or.  The  tragedy  above-mentioned  makes  him  to  die  by  poifon, 
but  the  vulgar  tradition  is,  that  being  compelled  to  apply  to  a  nun  for 
affjftance  in  a  diforder  that  required  bleeding.,  (he  performed  the  ope- 
ration fo  that  he  died  under  it. 

At  Kirklees  in  Yorkfhire,  now  the  feat  of  the  Armitage  family, 
but  which  was  formerly  a  Benedidtine  nunnery,  and  probably  the 
very  place  where  he  received  his  death's  wound,  is  a  grave- flone  near 
the  park,  under  which  as  it  is  faid,  Robinhood  lies  buried.  There  is 
an  infcription  on  it,  now  not  legible ;  but  Mr.  Ralph  Thorefby,  in 
his  Ducatus  Leodienfis  from  the  papers  of  Dr.  Gale,  dean  of  York,, 
gives  the  following  as  his  epitaph. 

^car,  imbcriicati  hi^  laitK  Ofcan, 

Hajj  i^cbcrt,  <iJadof  ^untingtun,. 

5EJca  arcic  \itt  aj  (lie  fa  gcutic : 

5in  pipit  haulti  im  iHobin  i^cutr. 

jg>ic  utlatDj  a.s^  ()t,  an  15  men, 

3^x1  C^nglanti  nc^cc  figl^  agcn. 

^hiit  24  Mai.  ^tkcmbti0,  1247. 
Dr.  Percy  doubts  the  genuinenefs  of  this  epitaph,  and  with  goocT 
reafon,  for  the  affeded  quaintnefs  of  the  fpelling,  and  the  even  pace 
of  the  metre,  are  certainly  ground  for  fufpicion. 

The  fame  author  has  given,  from  a  manufcript  of  his  own,  a  ballad 
of  Robinhood  and  Guy  of  Gifborne,  which  was  nev^r  before  printed, 
and,  as  he  fays,  carries  the  marks  of  much  greater  antiquity  than 
any  of  the  common  popular  fongs  on  the  fubjed:. 

The  fongs  above-mentioned,  although  many  of  them  are  totally 
devoid  of  hiftorical  truth,  being  in  fliort  metrical  legends,  were 
yet  interefling  enough  to  engage  the  attention  of  the  people,  for  ei- 
ther the  fubje<5t  was  of  fome  dignity,  or  the  cataftrophe  affedting,  or 
the  poetry  was  level  to  the  common  apprehenlion  j  in  fliort,  they  fell 
in  -with  the  popular  humour  ;  and  in  this  way  only  can  we  account 
for  their  tranfmiffion  through  a  fucceflion  of  ages,  and  their  exigence 
at  the  prefent  time.  Too  contemptuoufly  therefore  does  the  author 
of  the  Art  of  Englifli  Poefy  fpeak  of  our  ancient  fongs  and  ballads, 
when,  comparing  them  to  thbfe  grave  and  ftaiely  metres  which  he 
takes  occafion  to  commend,  he  calls  them  *  fmall  and  popular  mu- 
*  fickes,  fong  by  thefe  Cantabanqui  upon  benches  and  barrel's  heads,- 
*■  where  they  haue  none  other  audience  then  boys  or  countrey  fel- 

'  lowesi 


414  HISTORY    OF   THE   SCIENCE      Book  III. 

*  lowes  that  paffe  by  them  In  the  ftreete,  or  elfe  by  blind  harpers,  or 

*  fuch  like  tauerne  minftrels  that  giue  a  fit  of  mirth  for  a  groat,  and 
^  their  matters  being  for  the  moft  part  (lories  of  old  time,  as  the  tale 

*  of  Sir  'T'opas,  the  reportes  of  Betas  of  Southampton,  Guy   of  War- 

*  wicke,  Adam  Bel,  and  Ctymme  of  the  Cloiigh,    and  fuch  other  old 
■•  romances  or  hiftoricall  rimes,  made  purpofely  for  recreation  of  the 

*  common  people  at  Chridmaile  diners  and  brideales,  and  in  tauernes 
-*  and  alehoufes,  and  fuch  other  places  of  bafe  refort  i  alfo  they  be 

*  ufed   in  carols   and  rounds,  and  fuch  light  or  lafciuious  poem-es, 

*  which  are  commonly  more  commodioufly  uttered  by  thefe  buffonff 
*'  or  uices  in  playes  then  by  any  other  perfon.* 


CHAP.  X. 

SUCH  was  the  general  flate  of  mufic  in  England  at  the  clofe  of  the 
fixteenth  century;  as  to  our  poetry,  it  had  been  gradually  refin- 
ing from  the  time  of  Chaucer,  and  was  arrived  to  great  perfedion, 
when  it  received  fome  little  check  from  the  attempts  of  a  few  fantaf- 
tic  writers  to  improve  it  by  certain  rules,  teaching  men  to  become  poets, 
or  makers,  as  they  affeded  to  call  them, "rules  that  left  fcarce  any 
room  for  the  exercife  of  thofe  faculties  with  which  it  is,  though  per- 
haps a  little  hyperbolically,  faid  a  poet  is  born  ^  much  of  this  afFed:ed 
cant  about  poets  and  makers  is  obfervable  in  the  writings  of  R(5ger 
Afcham,  the  preceptor  to  the  children  of  Henry  VI il.  fomewhat  of 
it  in  Sir  Philip  Sidney's  elegant  little  trad  *  The  Defence  of  Poefie,' 
and  in  the  Difcoveries,  as  they  are  called,  of  Ben  Jonfon,  and  more 
in  a  work  intitled  *  The  Arte  of  Englifh  Poetry  contriued.  into  three 

*  bookes,  the  firft  of  poets  andpoefie,  the  fecond  of  proportion,  the 

*  third  of  ornament.'  London,  quarto,  1589  *. 

*  Three  years  before  this,  was  publidied  a  Difcourfe  of  Engllfh  Poetry,  a  fmall  traft  in 

quarto,  written  by  William  Webbe ;  this  is  a  very  curious  book,  and  contains  in  it  a  pro- 
pofal  for  the  reformation  of  Englifh  poetry,  by  eftablifiiing  a  profodia  of  verfification  in 
imitation  of  the  Greeks  and  Latins.  Sir  Philip  Sidney,  Sir  Edward  Dyer,  Spenfer,  and 
fome  others  laboured  to  fubjedl  our  poetry  to  fome  fuch  rules  as  are  here  prefcribed,  but 
without  effeft.  The  author  gives  a  general  account  of  the  Englifli  poets  from  Gower  down 
to  his  own  time,  and  fpeaks  in  terms  of  very  high  commendation  of  Anthony  Munday,  an 
earnelt  traveller  in  this  art,  in  whofe  name  he  fays  he  had  feen  very  excellent  works,  ef- 

pecialljf 


Chap.  I o.     AND    PRACTICE    OF    MU6lC.  415 

The  author  of  this  book,  though  fome  have  afcribed  it  to  Sir  Phi- 
lip Sidney,  is  in  general  believed  to  be  one  Webfter  Puttenham,  a 
gentleman  penfioner  of  queen  Elizabeth,  a  man  not  altogether  defti-- 
tute  of  learning,  but  whofe  notions  of  the  perfection  of  poetry  are 
fuch,  as  no  degree  of  learning  can  juftify.  What  the  author  has 
faid  in  his  firft  book  of  poets  and  pocfy  is  common  enough,,  and 
fcarcely  worthy  of  remark  ;  but  his  fecond  book,  intitled  of  Propor- 
tion poetical,  is  founded  upon  fuch  principles,  and  contains  fuch  rules 
for  writing  poetry  as  could  never  have  entered  into  the  head  of  a 
man  who  had  any  tafte  or  relifh  of  that  art  which  he  profefTes  to 
teach.     His   arguments  in  favour  of  proportion  poetical  are  thefe  : 

*  It  is  faid  by  mathematicians  that   all  things  ftand   by   proportion, 

*  and  by  the  dodlors  of  our  theology  that  God  made  the  world  by 

*  number,  meafure,  and  weight.*     As  to  poetical  proportion,  he  fays, 

*  it  holdeth   of  the  mulical,  becaufe   poefie  is  a  fkill  to  fpeak  and 
*■  write  harmonically  ;  and  uerfes  or  rhyme  be  a  kind  of  mufical  ut- 

*  terance  by  reafon  of  a  certain  congruitie  in  founds  pleafing  to  the 

*  ear,   though    not    perchance  fo  exquifitely  as  the  harmonical  con- 

*  cents  of  artificial  mulicke,  confiding  in  drained  tunes,  as  is  the 

*  vocal  muficke,  or  that  of  melodious  inftruments,  as  lutes,  harps,  re- 
*•  gals,  records,  and  fuch  like.'     And,  adds  he,  *  this  our  proportion^ 

*  poetical  redeth  in  fiue  points,  daffe,  meafure,  concord,  fituation^ 
*-  and  figure.' 

All  thefe  are  treated  of  in  their  order  :  as  to  daffe  or  danza,  he  ex- 
hibits it  in  various  forms,  viz.  as  confiding  of  few  or  many  verfes,. 
for  the  framing  whereof  the  rules*  given  by  him  are  fo  mechanical,, 
that  they  leave  very  littie  room  for  the  exercife  of  fancy  or  invention. 

pecially  upon  nymphs  and  fhepherds,  well  worthy  to  be  viewed  and  to  be  efteemed  as- 
very  rare  poetry.  He  celebrates  alfo  Dr.  Phaer  and  Dr.  Twine,  the  tranflators  of  Virgil,, 
and  Arthur  Gelding  for  his  labour  in  Ovid's  Metamorphofcs,  and  Dr.  Gabriel  Harvey, - 
the  brother  of  the  phyfician,  an  adnured  Latin  poet.  He  fpeaks  of  certain  compofitions 
after  the  manner  of  the  acroftic,  by  V/.  HunniSjand  fays  that  the  earl  of  Surrey  tranflated: 
fome  part  of  Virgil  into  Knglifii  hexameters.  A  fuller  account  of  this  curious  book  is- 
given  in  the  Britiih  Librarian  of  Mr.  Oldys,  No.  1 1. 

About  the  fame  time,  viz.  in  1584.,  was  printed  at  Edinburgh  in  quarto,  *  The  F flay es 

*  of  a  prentife  in  the  divine  art  of  Pctfie.'  This  prentife  was  James  the  Sixth  of  Scotland, , 
and  of  England  the  firfl.  The  book  contains  Sonnets,  the  Uranie  of  Du  Bartas  tranflated^ 
into  Englifii  verfe,  a  poem  entitled  Phoenix,  a  verfion  of  Pfalm  CIV.  and  '  Ane  fchort: 

*  Trcatife  cgnteining  fome  reulis  and  camelis  to  be  obferuit  and  efchewit  ^n  bcottis- 


«. 


poefie,' 


As.i 


4i6  HISTORY   OF   THE   SCIENCE     EookllL 

As  to  proportion  in  figure,  it  is  a  thing  Co  little  heeded  in  poetry, 
or  rather  indeed  Co  little  underfiood,  that  we  are  nec^fiitated  to  adopt 
the  explanation  of  it  by  the  author,  and  make  ufe  of  his  own  words : 

'  Your  laft  proportion  is  that  of  figure,  fo  called  for  that  it  yelds 

*  an    ocular  reprefentation,  your  meeters  being  by  good  fymmetrie 

*  reduced  into  certaine  geometrical  figures,  whereby  the  maker  is  re- 

*  drained  to  keepe  him  within  his  bounds,  and  {heweth  not  onely  more 

*  art,   but  ferueth  alfo  much  better  for  briefnefs  and  fubtiltie  of  dc- 

*  uice,    and  for  the  fame  refpedl  are  alfo  fitted:  for  the  pretie  amour- 

*  ets  in  court  to  entertaine  their  feruants  and  the  time  withall,   their 

*  delicate  wits  requiring  fome  commendable  exercife  to  keepe  them 

*  from  idlenefle.     I  find  not  of  this  proportion  ufed  by  any  of  the 

*  Greeke  or  Latine  poets,  or  in  any  vulgar  writer,  fauing  of  that  one 

*  forme  which  they  cal  Anacreons  eggs.     But  being  in  Italic  con- 
'  uerfant  with  a  certaine  gentleman  who  had  long  trauelled  the  orien- 

*  tal  parts  of  the  world,  and  Cecn  the  courts  of  the  great  princes  of 

*  China  and  Tartaric,   I  being  uery  inquifitiue  to  knowe  of  the  fub- 

*  tilties  of  thofe  countreys,   and  efpecially  in  matter  of  learning,  and 
^  of  their  vulgar  pocfie  5  he  told  me  that  they  are  in  all  their  inuen- 

*  tions  mod  wittie,  and  haue  the  ufe  of  poefie  or  riming,  but  do  not 
'  delight  fo  much  as  we  do  in  long  tedious  defcriptions,  and  there- 

.  *  fore  when  they  will  utter  any   pretie  conceit,  they  reduce  it  into 

*  metricall  feet,  and  put  it  in  form  of  a  lozange  or  fquare,  or  fuch 

*  other  figure,  and  fo  engrauen  in  gold,  filuer,  or  iuorie,  and  ibme- 
'  times  with  letters  of  ametid,  ruble,  emeralde,  or  topas,  curioufely 

*  cemented  and  peeced  together,  they  fend  them  in  chaines,  brace- 

*  lets,  collars,  and  girdles  to  their  midrefies  to  weare  for  a  remem- 

*  brancej   fome  fewe  meafures  compofed  in  this  fort  this  gentleman 

*  gaue  me,  which  I  tranllated  word  for  word,  and  as  near  as  I  could, 

*  following  both  the  phrafe  and  the  figure,  which  is  fomewhat  hard 

*  to  performe  becaufe  of  the  redraint  of  the  figure,   from   which  ye 

*  may  not  dlgrefie.      At  the  beginning  they  wil  feeme  nothing  plea- 

*  fant  to  an  Englidi  eare,   but   time    and    ufage  will  make  them  ac- 

*  ceptable  inough,  as   it   doth   in  all   other  newe  guifes,  be  it  for 

*  wearing  of  apparell  or  otherwife.' 

The  geometrical  figures  recommended  by  him  are  the  lozenge,  call- 
ed Rombus^  the  fuzee  or  fpindle  called  Rotiiboides,  the  triangle 
or  tricquet,  the  fquare  or  quadrangle,  the  pillad:er  or  cylinder,   the 

fpire 


Chap.  10.     AND    PRACTICE   OF   MUSIC.  417 

fpire  or  taper  called  Piramis,  the  rondel  or  fphere,  the  egge  or  figure 
ouall,the  tricquetreuerfed,  the  tricquetdifplayed,  the  lozangereuerfed, 
the  egg  difplayed,  the  lozange  rabbated. 

It  is  highly  probable  that  the  pradice  of  compofing  verfes  re- 
fembling  the  form  of  eggs,  altars,  wings,  and  many  other. fuch 
quaint  devices,  now  defervedly  the  fubjed:  of  ridicule,  had  its  foun- 
dation in  the  precepts  contained  in  this  book.  The  great  proficients 
in  this  fpecies  of  falfe  wit  were  Withers,  Quarles,  Crafhaw,  Her- 
bert, and  fome  others,  but  they  had  but  few  followers ;  and  not- 
withftanding  the  pains  which  Puttenham  has  taken  to  recommend  it, 
the  proportion  of  figure,  as  he  terms  it,  has  been  little  regarded. 

The  ftate  of  English  poetry  at  this  period  is  in  general  very  well 
known  to  all  that  are  converfant  in  Englifh  Hterature,  but  it  may  be 
thought  necefi^ary  to  be  fomewhat  particular  with  refped  to  that  fpe- 
cies of  it  which  is  to  be  more  immediately  connected  with  mufic,  and 
to  give  an  account  of  a  number  of  writers  little  known  to  the  world, 
the  authors  of  madrigals,  fonnets,  and  other  compofitions  for  mufic, 
many  whereof  will  be  found  to  have  great  merit. 

Puttenham  has  enumerated  fome  of  the  mofi:  celebrated  poets  of 
his  own  time  and  of  the  age  preceding,  as  namely,  the  earl  of  Surrey, 
Sir  Thomas  Wyat,  Lord  Vaux,  Maifter  Chaloner,  Maifter  Edward 
Dyer,  N.  Breton,  George  Gafcoigne,  Sir  Philip  Sidjiey,  Sir  Wal- 
ter Raleigh,  and  others ;  but  there  are  many  writers  of  this  clafs 
whofe  names  fcarce  ever  occur  but  in  colledions  of  fongs  and  fhort 
lyric  poems,  at  this  time  very  little  known.  One  of  the  firfi:  of  this 
kind  extant  is  the  *  Paradyfe  of  daynty  Deuifes,'  printed  in  1577^ 
the  greater  part  by  Richard  Edwards  before  mentioned  *,  others  by 

*  Of  Edwards  as  a  muficlan  mention  has  already  been  made,  fee  vol.  II.  page  531, 
but  befides  his  excellency  in  the  faculty  of  mufic,  it  feems  that  hepofTefled  a  confiderab!e 
talent  in  poetry.  Wood  fays  he  was  a  member  of  Lincoln's  Inn,  and  gives  a  farther  ac- 
count of  him  intheAthen.  Oxon.  vol.  I.  col.  151,  to  this  purpofe,  viz.  that  he  was  the 
author  of  two  comedies,  Damon  and  Pythias,  and  Palemon  and  Arcite,  often  a£led  at 
court  before  queen  Elizabeth,  and  in  the  univerfity  of  Oxford,  in  the  hall,  for  he  was  of 
Chrift-church  college. — That  the  queen  was  fo  delighted  with  the  latter  of  thefe,  that  (lie 
fent  for  Edwards,  and,  after  commending  fundry  paflages  in  it,  gave  him  many  thanks, 
and  a  promife  of  a  reward.  This  promife  it  feems  fhe  made  good  by  appointing  him  fiift 
a  gentleman  of  her  chapel,  and  afterwards,  upon  the  deceafe  of  Richard  Bowyer,  in  1561, 
mafter  of  the  children.  As  a  farther  teftimony  of  her  favour,  (he  formed  the  children  of 
the  royal  chapel  into  a  company  of  players,  and  granted  to  Edwards  licence  to  fuperintend 
them.  It  is  remarkable  that  the  firfl  regular  eftablifhment  of  a  company  of  players  was 
that  of  the  children  of  Paul's  in  1378  ;  their  theatre  was  the  finging-fchool  in  or  near  the 

Vol.  III.  L  1 1  cathedral. 


4i8  HISTORY    OF    THE    SCIENCE      Book  III. 

Lord  Vaux,  Edward  Vere  Earl  of  Oxford,  William  Hunnys,  Tho- 
mas Churchyard,  Lodowic  Lloyd,  Jafper  Heywood,  and  others. 
The  firft  of  thefe  collecftions  is   in  the  title-page  faid  to  contain 

*  fundry  pithy  preceptes,  learned  counfels,  and  excellent  inuentions, 

*  right  pleafant  and  profitable  for  all  eftates  ;'  befides  thefe  there  are 
divers  fongs,  many  of  which  have  been  fet  to  mulic,  and  certain  verfes 
of  Edwards's  in  commendation  of  mufic,    beginning  •  Where  griping 

*  grief  the  hart  would  wound,'  alluded  to  in  Shakefpeare's  Romeo 
and  Juliet,   adt  IV.  fcene  vi. 

Another  collection  of  the  fame  kind  was  printed  in  the  year  1614. 
with  the  title  of  England's  Helicon,  or  the  Mufes  Harmony,  a  col- 
ledion  of  fongs.  The  names  of  the  authors  are  as  follows  :  Sir  Phil. 
Sidney,  Edmund  Spenfer,  Michael  Drayton,  Edmund  Bolton,  Ro- 
bert Greene,  Thomas  Lodge,  Nich.  Breton,  Shepheard  Tonie, 
George  Peele,  Howard  Earl  of  Surrey,  Thomas  Watfon  *,  John 
Wooton,  W.  Shakefpeare,  Bar.  Yong  -f,  Richard  Barnefield,  Earle 

cathedral.  The  next  was  that  of  the  parlfh- clerks  of  London  at  Sklnner's-well ;  th« 
next  that  of  the  children  of  the  royal  chapel  above-mentioned  j  a  few  years  after  which 
another  was  eftablifhed  under  the  denomination  of  the  children  of  the  revels.  Thefe  two 
companies  of  children  laft  mentioned  became  very  famous  ;  all  Lilly's  plays,  and  many 
of  Shakefpeare's  and  Jonfon'6,  were  firll  adled  by  them  ;  they  were  looked  on  with  a  jea- 
lous eye  by  the  zCtovs  at  the  theatres ;  and  Shakefpeare  alludes  to  the  injudicious  approba- 
tion of  their  performance  in  the  following  fpeeches  of  Rofencrantz  and  Hamlet : 

*  There  is  an  aiery  of  little  children,  little  eyafes  [neftlings  of  an  eagle  or  hawk] 

*  that  cry  out  on  the  top  of  queftion,  and  are  moft  tyrannically  clapp'd  for't :  thefe  are  now^ 

*  the  fafhion  ;  and  fo  berattle  the  common  ftages  (fo  they  call  them.)  that  many  wearing 

*  rapiers  are  afraid  of  goofe-quills,  and  dare  fcarce  come  thither.     Ham.  What  are  they 

*  children  ?  Who  maintains  them  ?  How  are  they  efcoted  ?  [paid]  Will  they  purfue  qua- 

*  lity  no  longer  than  they  can  fing  ?'  &c.     Hamlet,  act  II.  fcene  vi. 

Among  the  children  of  queen  Elizabeth's  chapel  was  one  named  Sal.  Pavey,  who  was 
it  feems  an  excellent  a£lor  in  the  character  of  an  old  man.  He  died  under  the  age  of  thir- 
teen, and  is  celebrated  by  Ben  Jonfon  in  an  epitaph  printed  with  his  epigrams. 

Biihop  Tanner,  in  his  Bibliotheca,  has  an  article  for  Edwards,  in  which  are  mentioned 
fome  poems  of  his  not  printed  in  the  Paradyfe  of  daynty  deuifes.  He  appears  by  the 
cheque  book  to  have  died  ©n  the  laft  day  of  O£lobcr,   1 566. 

William  Hunkis,  another  of  the  authors  above-mentioned,  and  whoalfo  wrote  many, 
of  the  poems  printed  in  the  Paradyfe  of  daynty  deuifes,  and  alio  tranflated  tome  of  Da- 
vid's Pfalms  into  English  metre,  was  likewife  a  mufician  and  a  gentleman  of  the  chapel  ; 
his  name  occurs  as  fuch  both  in  the  lift  of  Edward  the  Sixth's  chapel  eftabllihm.ent,  and  io 
that  of  queen  Mary.  ^He  fucceeded  Edwards  as  mafter  of  the  children,  being  appointed 
to  that  office  on  the  fifteenth  day  of  November  1566,  and  died  the  fixth  of  June,  1597. 

*  Mentioned  before  as  tlie  publifher  of  the  firft  Sett  of  Italian  Madrigals  Englifhed. 
From  the  circumftance  of  his  having  wrote  poems  printed  in  this  colle£lion,  it  is  probable 
that  he  was  the  tranllator  of  the  madrigals  publiflied  by  him. 

t  The  tranllator  of  the  Diana  of  George  de  Montemayor  into  Englifll.  A4oft  of  his 
poems  in  the  England's  Elelicon  are  taken  from  this  tranflvition. 

of 


Ch?p.  10.     AND    PRACTICE^  OF    MUSIC.  419 

of  Oxenford,  Sir  Edward  Dyer,  N.  Yong  *,  M.  N.  Howell,  Chrifto- 
pher  Marlow,  William  Browne  -f-,  Chrift,  Brooke. 

.The  other  collection,  namely  England's  Helicon,  is  altogether  in 
that  vein  of  Poetry  which  Sir  Philip  Sidney  introduced  amongft  us, 
and  is  celebrated  for  its  paftoral  fimplicity.  In  it  are  in  truth  many 
very  fine  compofitions,  moft  of  which  are  fet  to  mufic  by  the  abled 
mafters  of  the  time,   and  chiefly  in  the  form  of  madrigals. 

Moft  of  the  perfons  above  named  were,  in  comparifon  of  our 
Englifh  claffics,  obfcure  writers  ;  they  are  neverthelefs  recorded,  with 
many  curious  particulars  relating  to  them,  by  Winftanley,  Lang- 
baine,  Phillips,  and  Wood,  and  their  merits  are  fuch  as  entitle  them 
to  the  regard  of  fuch  as  wifh  to  form  a  true  judgment  of  Englifh 
literature  J. 

*  Nicholas  Yong,  before-mentioned  as  the  publifher  of  the  Mufica  Tranfalpina  in  two 
books. 

-I  Author  of  Britannia's  Paftorals.  The  reft  may  be  met  with  in  the  Athense  and  Fafti 
Oxonienfes. 

t  He  that  ftiould  form  his  opinion  of  ancient  Englifli  manners  by  thofe  pleafing  de- 
fcriptions  of  rural  innocence  with  which  this  book  abounds,  or  that  ftiould  imagine  the 
fwains  were  then  as  conftant,  and  the  nymphs  as  chafte  as  they  are  reprefented,  would 
grofsly  err  in  his  judgment :  nothing  can  be  more  delightful  to  the  imagination  than  the 
delineation  of  rural  obje£ls,  heightened  by  that  colouring  which  is  given  to  them  by  the 
approach  of  fummer  ;  for  this  reafon  the  poets  have  been  uniformly  induftrious  in  feledl- 
ing  from  the  univerfal  landfcape  of  nature  and  the  practice  of  thofe,  who  living  remote 
from  cities  and  places  of  great  refort,  are  fuppofed  to  have  retained  their  native  innocence- 
and  fimplicity  of  manners,  all  thofe  particulars  that  tend  to  diftinguifti  the  month  of  May, 
How  the  feftivities  of  this  merry  month,  as  it  is  called,  were  celebrated  in  the  golden  days 
of  queen  Elizabeth,  we  are  told  in  a  curious  and  very  fcarce  book,  intitled  the  Anatomic 
of  Abufes,  written  by  Philip  Stubbs,  Gent,  and  publifhedin  1595,  wherein  is  the  follow- 
ing defcription  of  the  ceremony  of  a  Maying. 

*  Againft  Maie  day,  Whitfunday,  or  fome  other  time  of  the  yeare,  euery  parifn,  towne, 
'  and  village  aftembie  themfelues  together,  both  men,  women,  and  children,  olde  and 

*  young,  euen  all  indifferently;  and  either  going  altogether,  or  diuiding  themfelves  into 

*  companies,  they  goe  fome  to  the  woods  and  groues,  fome  to  the  hils  and  mountaiues, 

*  fome  to  one  place,  fome  to  another,  where  they  fpende  all  the  night  in  pleafant  paftimes, 

*  and  in  che  morning  they  returne,  bringing  with  them  birch- boughes  and  branches  of 

*  trees  to  deck  their  affemblies  withall.     And  no  maruell,  for  there  is  a  great  lord  prcfent 

*  amongft  them,  as  fuperintendent  and  lord  ouer  their  paftimes  and  fportes,   namely,  Sa- 

*  than  p;  ince  of  Heil :  but  their  chiefeft  iewel  they  bring  from  thence  is  the  Maie-pole, 

*  which  they  bring  home  with  great  ueneration,  as   thus:  they  haue  twentie  or   fourtie 

*  yoake  of  oxen,  en^^ry  oxe  hauing  a  fweet  nofegaie  of  flowers  tyed  on  the  tip  of  his 
'  homes,  and  thefi:  oxen  drawe  home  this  maie-pole  (this  ftinking  idoll  rather)  which  is 

*  couered  all  ouer  with  flowers  and  hearbes  bound  round  about  with  ftrings,  from  the  top 
'  to  the  bottome,  and  fometimes-  painted  with  uariable  colours,  with  two  or  three  hun- 
'  dred  men,  women,  and  chiMren  following   it   with  great  deuotion.     And  thus  being 

*  reared  up  with  handkerchiefes  and  flagges  ftreaming  on  the  top,  they  ftrawe  the  ground 

*  round  about,  bind  green  boughes  about  it,  fet  by  fummer  haules,  bowers  and  arbours 

L  11  2  *  hard 


420  HISTORY    OF    THE    SCIENCE      Book  II L 

To  this  clafs  of  poets  fucceeded  another,  who  deviating  from  their 
predecefTors,  introduced  into  their  compofitions,  allegory  and  all  the 
fubtleties  of  metaphyfics,  and  even  fchool  theology  ;  thefe  were  Sir 
John  Davies,  Phineas  Fletcher,  author  of  the  Purple  Ifland,  Dr. 
Donne,  and  a  few  others ;  this  ftyle  of  writing  furnifhed  very  little 
employment  for  the  mufical  compofers  of  this  time  :  as  it  was  affedl- 
ed  and  obfcure,  it  was  {hort-lived,  and  gave  way  to  that  natural,  ele- 
gant, and  eafy  vein  of  poetry,  which  Spenfer,  Daniel,  Carew,  and 
Waller  introduced  and  pradtifed,  and  which  lent  to  mufic  as  many 
graces  as  it  borrowed  from  it*. 

*  hard  by  it.     And  then  fal  they  to  banquet  and  feaft,  to  leape  and^aunce  about  It  as  the 

*  heathen  people  did  at  the  dedication  of  their  idolles,  whereof  this  is  a  perfect  patterne,  or 

*  rather  the  thing  itfelfe.     I  haue  heard  it  crediblie  reported,  and  that  viua  voce,  by  men 

*  of  great  grauity,  credite,  and  reputation,  that  of  fourtie,  threefcore,  or  a  hundred  maides 

*  going  to  the  wood  ouernight,  there  haue  fcarcely  the  third  part  of  them  returned  home 

*  againe  undefiled/ 

The  fame  author  fpeaking  of  the  daily  exercifes  of  the  women  in  England,  gives  the  fol- 
lowing account : 

*  Some  of  them  lie  in  bed  (I  will  not  fay  with  whome)  till  nine  or  ten  of  the  clocke 

*  euery  morning,  then  being  rowzed  forth  of  their  dennes,  they  are  two  or  three  houres 

*  in  putting  on  of  their  robes,  which  done,  they  goe  to  dinner,  where  no  delicates  eyther 

*  of  wines  or  meates  are  wanting.     Then  their  bodies  being  fatisfied,  and  their  heades 

*  prettily  mizzled  with  wine,  they  walk  abroad  for  a  time,  or  els  conferre  with  their  fami- 

*  liars  (as  women  you  known  are  talkatiue  ynough,  and  can  chat  like  pies)  all  the  world 

*  knoweth  it.     Thus  fome  fpend  the  day  till  fupper  time,  and  then  the  night  as  before. 

*  Otherfome  fpend  the  greateft  part  of  the  day  in  fitting  at  the  dore  to  fhew  their  braueries,, 

*  to  make  known  their  beauties,  to  beholde  the  paflengers  by,  to  uiew  the  coafl,  to  fee  fa- 
fhions,  and  to  acquaint  themfelyes  with  the  braueft  fellowes,  for  if  not  for  thefe  caufes, 

*  I  fee  no  other  caufes  why  they  Ihould  fit  at  their  doores,  from  morning  to  noone  (as  many, 

*  do)  from  noon  to  night,  thus  vainly  fpending  their  golden  dayes  in  filthy  idlenefle  and  fin. 
'  Againe,  otherfome  being  weary  of  that  exercife,  take  occafion  (about  urgent  affaires  you 
'  mult  fuppofe)  to  waike  into  the  towne,  and  leaft  any  thing  might  be  gathered  but  that  they 

*  go  about  ferious  matters  indeed,  they  take  their  balkets  in  their  hands,  or  under  their  armes, 

*  under  which  pretence  pretie  conceits  are  pra£lizeci,  and  yet  may  no  man  hj  blacke  is 

*  their  eye.     Byt  if  all  other  waies  faile  them,  yet  haue  they   one  which  be   fure  will 

*  fpeed.  *  *  *  *  In  the  fieldes  and  fuburbes  of  the  cities  they  haue  gardens,  either  paled, 

*  or  walled  round  about  very  high,  with  their  barbers  and  bowers  fit  for  their  purpofe. 

*  And  lead  they  might  be  efpied  in  thefe  open  places,  they  haue  their  banquetting  houfes, 

*  with  galleries,  turrets,  and  what  not  els  therein  fum^tuoully  eredled,  wherein  they  may. 

*  (and  doubtieiTe  do)  many  of  them  play  the  filthy  perfons.     And  for  that  their  gardens. 

*  are  locked,  fome  of  them  haue  three  or  foure  keyes  a  peece,  whereof  one  they  keep  for 
*'  themfelues,  the  other  their  paramours  haue  to  goe  in  before  them,  leafl  happely  they.- 

*  might  be  perceiued,  for  then  were  all  the  fport  dalht.     Then  to  thefe  gardens  they  re- 

*  paire  when  they  lift,  with  a  baJket  and  a  boy,  where  they,  meeting  their  fweet  harts,  re- 

*  ceiue  their  wiflied  defires.     Thefe  gardens  are  excellent  places,  and  for  the  purpofe,  for; 

*  if  they  can  fpeake  with  their  dearlings  nowhere  els,  yet  there  they  may  be  fure  to  meet. 
*■  them,  and  to  receiue  the  guerdon  of  their  paines.' 

*  In  this  view  of  poetry  the  fonnets  of  Shakefpeare  and  the  Amoretti  of  Spenfer,  fuxpafs 
every  thing  of  the  kiad  in  the  Englifh  language  j  and  it  is  to  be  wondered  at  that  till  about- 

the 


Chap.  10.      AND    PRACTICE    OF    MUSIC.  421 

To  the  catalogue  of  Englifh  muficians  herein  before  given,  and 
continued  down  to  the  year  1600,  the  following  additions  may  be 
made,  of  perfons  lefs  noted  for  the  number  and  varfety  of  their  publi- 
cations, though  perhaps  not  lefs  excellent  in  their  faculty,  viz. 

Richard  Allison,  a  private  teacher  of  mulic  in  London,  flou- 
riflied  in  the  reign  of  queen  Elizabeth,  and  dwelt  in  Duke's  Place 
near  Aldgate.  He  was  one  of  the  ten  authors  that  compofed  parts 
to  the  common  Pfalm  tunes  printed  by  Thomas  Efte  in  1594,  oda- 
vo.  He  alfo  publifhed  the  Pfalms  with  this  title  «  The  Pfalmes  of 
«  Dauid  in  meter,  the  plaine  fong  beeing  the  common  tunne  to  be 
'  fung  and  plaid  upon  the  Lute,  Orpharyon,  Citterne,  or  Bafe  Viol, 

*  feuerally  or  altogether,  the  finging  part  to  be  either  tenor  or  treble 

*  to  the  inftrument,  according  to  the  nature  of  the  uoyce,  or  for  foure 

*  voyces,  with  tenne  (hort  tunnes  in  the  end,  to  which  for  the  moft 
'  part  all  the  Pfalmes  may  be  ufually  fung,  for   the  ufe  of  fuch  as 

*  are  of  mean  fkill,  and  whofe  leyfure  lead  ferueth  to  pradife.'  Fol, 
London,  1599. 

Hugh  Aston,  an  organift  in  the  time  of  Henry  VIII.  compofed 
a  Te  Deum  for  five  voices,  now  in  the  mufic-fchool,  Oxon. 

Thomas  Ashwell,  a  cathedral  mufician,  lived  in  the  reigns  of 
Henry  VIII.  Edward  VI.  and  queen  Mary  j  fome  of  his  compofitions 
are  in  the  mufic-fchool,  Oxon. 

Edward  Blancks,  one  of  the  compofers  of  the  Pfalms  in  four 
parts,  printed  by  Efte,  and  mentioned  above. 

Avery  Burton,  a  cathedral  mufician  in  the  reign  of  Henry  VIII. 
an  anthem  of  his  in  five  parts  is  in  the  mufic-fchool,  Oxon. 

Richard  Carleton,  bachelor  of  mufic,  and  in  priefi's  orders, 
was  the  author  of  Madrigals  to  five  voices,  printed  in  1601.  He  was 
©ne  of  the  compofers  of  the  Triumphs  of  Oriana. 

Benjamin  Cosyn,  a  famous  compofer  of  leflTons  for  the  harpfi- 
fhord,  and  probably  an  excellent  performer  on  that  inftrument,  flou- 
ii(hed  about  this  time.  There  are  many  of  his  leflbns  extant  that 
feem  in  no  refped  inferior  to  thofe  of  Bull.  The  name  Williami 
Cosin  occurs  in  the  Afhmolean  manufcript  lifi:  of  muficians  of  An- 
thony Wood,  and  he  is  therein  faid  to  have  been  organifi:  of  the  Char- 

ihe  year  1738,  neither  the  one  nor  the  other  of  them  were  ever  fet  to  mufic.  A  part  of 
the  Amorettl  was  then  fet,  and  publilhed  by  Dr.  Maurice  Greene  for  a  fingle  voice,  but 
tins  work  did  him  little  honour. 

ter-houifi: 


4i22  HISTORY    OF    THE    SCIENCE     BookllL 

ter-houfe  before  the  wars.  It  is  probable  that  thefe  perfons  were  the 
fons  of  John  Cosyn,  who  in  1585  publiQied  the  Pfahns  in  mufic  of 
five  and  fix  parts. 

Hugh  Davis,  bachelor  of  mufic,  of  New  college,  and  afterwards 
oriranifi:  of  Hereford  cathedral,  is  celebrated  for  his  fkill  in  church 
mufic.      He  died  in  1644. 

John  Farrant,  organifl:  of  Salisbury,  another  John  Farrant, 
organiil  of  Chrift's  hofpital  within  Newgate,  London  j  and  Daniel 
Farrant,  fuppofed  to  be  the  fon  of  Richard  Farrant  before  men- 
tioned; all  flouriHied  about  the  year  1600  j  the  latter  is  faid  to  have 
been  one  of  the  firft  of  thofe  muficians  who  fet  lefibns  lyra-way,  as  it 
is  called,  to  the  viol,  in  imitation  of  the  old  Englifli  lute  and  bandore. 

John  Floyd,  of  Welch  extraction,  bachelor  of  mufic,  and  a  gen- 
tleman of  the  chapel,  temp.  Hen.  VIII.  He  made  a  pilgrimage  to  Je- 
rufalem,  returned  and  died  in  the  king's  chapel,  and  was  buried  in  the 
Savoy  church  with  this  infcription  :  Johannes  Floyd  virtutis  et  reli- 
gioniscultor.    Obiit  3  Apr.  1523. 

John  Gilbert,  a  bachelor  of  mufic  of  Oxon,  15 10.  John 
Goodman,  a  noted  compofer,  1505.  Matthew  Goodwin,  1585.' 
Walter  Hilton,  a  Carthufian  monk,  and  eminently  fkilled  in 
mufic.  He  lived  temp.  Hen.  VI.  and  wrote  DeMufica  Ecclefiaftica, 
lib.  I.  Tobias  Hume,  a  foldier  by  profefilon,  but  an  excellent  per- 
former on  the  Viol  da  Gamba  ;  he  publifhed  in  1607,  and  dedicated  to 
queen  Anne,  the  confort  of  James  I,  a  colledion  of  fongs  intitled  *  Cap- 

*  taine  Hume's  Poeticall  Muficke,  principally  made  for  two  bafTeviolls, 

*  yet  fo  contriued  that  it  may  be  plaied  8  feuerall  waies  upon  fundry  in- 

*  iiruments  with  much  facilitie.'  Matthew  Jeffries,  a  vicar  choral 
of  the  cathedral  of  Wells,  and  bachelor  of  mufic  of  Oxon.  1593.  John 
Keeper  of  Hart  hall :  he  publiflicd  feledt  Pfalms  in  four  parts,  1574. 
Henry  Noel,  a  gentleman  penfioner  of  queen  Elizabeth,  and  much 
favoured  by  her,  for  his  fkiU  in  mufic.  Francis  Pilkington  of 
Trinity  college,  Oxon.  bachelor  of  mufic  in  1595.  Henry  Por- 
ter of  Chrift-church  college,  Oxon.  bachelor  of  mufic  in  1600. 
Richard  Read,  bachelor  of  mufic  in  1592,  a  compofer  of  fervices. 
John  Silvester,  bachelor  of  muiic  in  1521,  an  eminent  mufician. 
Kosert  Stevenson,  created  dodor  in  mufic,  1596.  Henry  Ston-- 
ING,  a  noted  mufician,  temp,  Eliz. 

A 


423 


GENERAL        HISTORY 


OF    THE 


SCIENCE       and      PRACTICE 


O  F 


M     u     s     I    a 

B  O  O  K     IV.  CHAP.      L 


FROM  the  foregoing  dedudlon  of  the  hiftory  of  mufie  a  judg- 
ment may  be  formed,  as  well  of  the  practice  and  the  ufes  to 
which  it  was  at  different  periods  applied,  as  of  the  improvements 
from  time  to  time  made  in  the  fcience.  In  particular  it  may  be  ob- 
ferved,  that  in  all  ages,  and  in  almoft  all  countries,  it  made  a  part  of 
religious  worfhip.  Among  the  Heathens  and  Jews  mufic  was  em- 
ployed in  facrifices ;  and  thefe  authorities  in  the  opinion  of  the  pri- 
mitive fathers  were  deemed  fufficient  to  juftify  the  introduction  of  it 
into  the  ritual  of  the  Chriftian  church.  From  the  middle  of  the 
fourth  century  to  this  time,  mufic  has  therefore  in  fome  way  or  other 
made  a  part  in  the  public  worfhip  of  every  church  which  acknow- 
ledges Chrift  for  its  head. 

As  to  fecular  mufic,  it  may  be  remarked  to  have  Confided  either  in 
that  kind  of  it  which  is  fuited  to  triumphs,  to  fhews  and  public  fpe(5ta- 
cles,  rejoicings  and  feftivities,  or  in  that  lefs  vociferous  kind,  intended 
either  for  folitary  practice  or  convivial  recreation.  In  both  of  thefe 
the  mufic  was  in  general  an  auxiliar  to  poetry,  or  at  lead  was  made 
ufe  of  to  enforce  fome  fentiment,  to  awaken  devotion,  or  infpire 
love.  The  principles  of  harmony  were  by  this  time  fufhciently  ex- 
plored, and  fomething  like  what  we  now  call  Air  was  difcoverable  ia 
the  melody  of  thofe  times  y  the  fubfequent  improvements  in  mufic 

refpei3:.- 


424  HISTORY    OF    THE    SCIENCE     Book  IV. 

refpeded  chiefly,  ftyle,  expreflion,  and  the  power  of  exciting  different 
paflions  by  an  artful  combination  and  fuccefiion  of  correfponding 
founds,  and  tendered  it  fit  for  a  more  intimate  union  and  connedion 
with  poetry  than  had  been  known  before  3  of  which  connexion  it  is 
now  time  to  fpeak. 

It  has  already  been  {hewn  that  the  modern  lyric  poetry  had  its  rife 
among  the  Proven9als ;  and  thofe  who  have  undertaken  to  give  the 
hiflory  of  the  theatre,  feem  more  difpofed  to  derive  the  origin  of  the 
principal  theatrical  entertainments  now  in  ufe,  from  the  fame  fource, 
than  from  the  more  perfed  models  of  ancient  Greece  and  Rome. 
But  here  a  diftindion  is  to  be  made  between  tragedy  and  comedy  on 
the  one  hand,  and  on  the  other  thofe  inferior  fpecies  of  dramatic 
poefy,  namely,  moralities,  myfleries,  mummeries,  mafques,  ferenatas, 
and  above  all  the  mufical  tragedy,  or,  as  it  has  long  been  called,  the 
Opera.  The  former  of  thefe  have  an  undoubted  claim  to  high  anti- 
quity, the  latter  it  is  conjedtured  had  their  rife  in  thofe  times  of  igno- 
rance and  barbarifiii  on  which  we  look  back  with  no  other  view  than 
to  eftimate  the  degree  of  literary  improvement  in  the  courfe  of  a  few 
centuries,  and  are  in  general  of  fuch  a  kind  as  fcarce  to  merit  a  criti- 
cal attention  ;  the  opera  however  will  perhaps  be  thought  fo  inti- 
mately conneded  with  the  fubjed  of  this  work,  as  to  require  a  very 
particular  confideration. 

The  Italian  writers  have  taken  great  pains  to  afcertain  the  origin 
of  the  mufical  drama  or  opera.  Riccoboni  in  his  *  Reflexions  hif- 
<  toriques  &  critiques  fur  les  differens  Theatres  de  I'Europe,'  has  col- 
leded  their  feveral  opinions  on  the  fubjed,  and  dates  the  public  ex- 
hibition of  operas  from  the  year  1637,  when,  as  he  relates,  the  opera 
of  Andromache  was  performed  at  the  theatre  of  St.  Caffan  at  Venice. 
This  author  feems  to  have  made  but  a  very  indifferent  ufe  of  the  ma- 
terials in  his  poffeffion,  and  his  account  of  the  matter  is  very  loofe 
and  unfatisfadory  :  it  is  to  be  obferved  that  there  is  a  diverfity  of  opi- 
nions touching  the  origin  of  the  mufical  drama,  and  he  has  adopted 
that  which  gives  it  the  lowed  degree  of  antiquity,  the  others  carry  it 
many  years  backwarder  5  thefe  opinions  fhall  feverally  be  ftated,  and 
fubmitted  to  the  reader's  choice  *, 

*  Mr.  Dryden,  in  the  preface  to  his  Albion  and  Albanius,  confefTes  that  he  was  not 
able  by  any  fearch,  to  get  any  light  either  of  the  time  when  the  opera  began,  or  of  the 
firft  author  5  but  he  profeffes,  upon  probable  reafons  to  believe  that  *  fome  Italians,  having 

'  curioufly 


Chap.  I.     AND    PRACTICE    OF    MUSIC.  425 

Firft,  it  is  faid  that  the  opera  was  invented  by  Johannes  Sulpitiu?, 
furnamed  Verulanus,  a  native  of  Veroli,  a  town  in  the  Campania  di 
Roma,  and  vi^ho  flourished  towards  the  end  of  the  fifteenth  century  ; 
this  is  aflcrted  by  Bayle  in  the  article  Sulpitius  and  his  authority  for 
it  is.  Father  Meneftrier,  who  in  his  treatife  *  Des  Reprefentations  en 

*  Mufique,' pag.  155,  156,  has  the  following  paflage  :   *  Thofe  re- 

*  mains  of  dramatic  mufic  which  had  been  preferved  in  the  church, 

*  ferved  to  reftore  it  two  hundred  years  ago;  and  Rome,  (which  had  in 

*  a  manner  loft  it,  in  order  to  beftow  upon  the  recitation  and  declama- 

*  tion  of  adtors,  what  the  Grecians  beftowed  upon  finging  and  harmony) 

*  brought  it  upon  the  ftage  towards  the  year  1480,  as  I  learned  from 

*  Sulpitius,  in  the  epiftle  dedicatory  prefixed  to  his  notes  upon  Vitru- 

*  vius  *,  which  he  prefented  to  Cardinal  Riari,  great  chamberlain  of 

*  the  church,  and  nephew  of  pope  Sixtus  IV.     Sulpitius,  praifing  the 

*  magnificence  of  the  Cardinal,  who  had  built  many  ftately  palaces  in 

*  the  neighbourhood  of  Rome,  begs  of  him  that  he  would  eredt  public 
^-  theatres  for  mufical  reprefentations,  of  which  Sulpitius  calls  him  the 

*  reftorer,  having  fhewn  at  Rome  a  few  years  ago  what  had  not  been 

*  in  ufe  there  for  many  ages.     He  tells   the  Cardinal  in  that  epiftle 

*  that  Rome  experts  from  him  a  theatre  for  fuch  performances,  be- 

*  caufe  he  has  already  given  fuch  an  entertainment  to  the  people  upoa 

*  a  moveable  theatre  fet  up  in  a  public  place,  and  at  other  times  in 

*  curioufly  obferved  the  gallantries  of  theSpanifh  Moors  at  their  Zambras,  or  royal  feafls, 

*  (where  mufick,  fongs  and  dancing  were  in  perfection  ;  together  with  their  machines  at 

*  their  running  at  the  ring,  and  other  folemnities)  jTiight  have  refined  upon  thofe  Morefque 

*  amufements,  and  produced  this  pleafing  kind  of  drama,  by  leaving  out  the  warlike  part, 

*  and  forming  a  poetical  defign  to  introduce  more  naturally  the  machines,  mufic,  and 

*  dances.'  Then  he  proceeds  to  fay,  that  however  operas  began,  mufic  has  flourifhed  princi- 
pally in  Italy  J  and  that  he  believes  their  operas  were  firft  intended  for  the  celebration  o.^  the 
marriages  of  their  princes,  or  the  magnificent  triumphs  of  fome  general  time  of  joy  ;  and 
accordingly  the  expences  upon  thefe  occafions  were  out  of  the  purfe  of  the  fovereign  or  re* 
public,  as  has  been  often  praftifed  at  Turin,  Florence,  Venice,  Sec. 

In  a  poftfcript  to  the  above-mentioned  preface  Dryden  retra<Sls  this  opinion,  and  fays  that 
poflibly  the  Italians  went  not  fo  far  as  Spain  for  the  invention  of  their  operas  ;  for  that  they 
might  have  taken  the  hint  at  home,  and  formed  this  drama  by  gathering  up  the  fiiip«vrecks 
of  the  Grecian  and  Roman  theatres,  which  were  adorned  with  mufic,  fcenes,  dances,  and 
machines,  efpecially  the  Grecian.  And  in  the  preface  itfelf  he  obferves  that  tliough  the 
opera  is  a  modern  invention,  yet  it  is  built  on  the  foundation  of  the  Ethnic  worfliip. 

*  Bayle  remarks  that  Meneftrier  is  miftaken  in  this  defcription  of  Sulpitius's  edition  of 
Vitruvius  ;  it  is  true  that  he  publifhed  it  during  the  pontificate  of  pope  Innocent  VIII.  that 
is  to  fay,  between  1484  and  1492,  but  without  notes  or  various  readings.  Bayle, 
Sulpitius,  note  A. 

Vol.  III.  M  m  m  *  the 


4?6  HISTORY    OF    THE    SCIENCE       Book  IV. 

«  the  caftle  of  St.  Angelo  for  the  Pope's  diverlion,  and  in  his  palace 

*  for  fome  Cardinals  *.' 

Erythraeus,  in  his  Pinacotheca  I.  pag.  62,  and  Crefclmbeni  af- 
cribe  the  invention  of  the  mufical  drama  or  opera  to  Emilio  Cavaliere, 
who  in  the  year  1590,  exhibited  in  the  palace  of  the  grand  duke  at 
Florence,  *  11  Satiro,'  and  *  La  Difperazione  di  Fileno,'  two  dramas- 
of  the  paftoral  kind  fet  to  mufic  -f .  This  relation,  true  as  it  may  be, 
does  not  afcertain  the  original  invention  of  the  opera,  which,  accord- 
ing to  the  above  account,  muft  have  been  in  1480,  or,  as  SulpitiuS' 
intimates,  ftill  more  early. 

Notwithftanding  thefe  relations,  it  is  infifted  on  by  many  that  the- 
mufical  drama  or  opera  was  invented  by  Ottavio  Rinuccini,  a  native- 
of  Florence,  a  man  of  wit,  handfomein  perfon,  polite,  eloquent,  and 
a  very  good  poet  J.  He  confiderably  enriched  the  Italian  poetry  with 
his  verfes,  compofed  after  the  manner  of  Anacreon,  and  other  pieces 
which  were  fet  to  mufic  and  aded  on  the  ftage.  His  firft  compofi- 
tion  of  this  kind  was  a  paftoral  called  Daphne,  which  being  but  an 
leiTay  or  attempt  to  introduce  this  fpecies  of  mufical  entertainment 

*  *  Tu  enlm  primus  tragoediae  quam  nos  juventutem  excltandi  gratia  et  Agere  et 

*  Cantare  primi  hoc  aevo  docuimus  (nam  ejufmodi  adlionem  jam  multis  fseculis  Roma 

*  non  viderat)  in  medio  fore  pulpitum  ad  quinque  pedum  altitudinem  ereftum  pulcher- 

*  rime  exornafti.     Eamdemque  poftquam  in  Hadriani  mole  Divo  Innocentio  fpedante  eft 

*  ada,  rurfus  intra  tuos  penates  tamquam  in  media  Circi  cavea  toto  confeflu,  umbraculis 
<  tefto,  admiflb  populo,  et  pluribus  tui  ordinis  fpeftatoribus  honorifice  excepifti.     Tu 

*  etiam  primus  picluratae  fcen?e  faciem,  quum  Pomponiani   comsediam  agerent   noftro 

*  fjeculo  oftendifti :  quare  a  te  theatrum  novum  tota  urbs  magnis  votis  expeftat.' 

It  feems  that  the  opera  here  fpoken  of,  was  fet  to  mufic  by  Francefco  BeA-erini,  a  learned 
mufician  who  flouriftied  in  the  pontificate  of  Sixtus  IV.  and  that  the  fubjedl  of  the  drama 
was  the  converfion  of  St.  Paul.  It  is  remarkable  that  Sulpitlus  in  his  dedication  ftyles 
himfelf  only  the  reviver  of  this  entertainment  ;  by  which  exprcffion  he  feems  to  intimate 
that  it  was  in  ufe  among  the  ancients  ;  and  of  that  opinion  Dryden  appears  atlafl  to  have 
been  by  the  poftfcript  to  the  preface  to  his  Albion  and  Albanius  before  cited. 

t  Crefcim.beni,  Commentarj.  intorno  all'   Iftoria   della    volgar   Poefia,  vol.  I.  lib.  iv. 

page  234.- 

X  He  entertained  a  wild  paffion  for  Mary  de  Medicis,  and  followed  her  into  France, 
where  he  notwithftanding  fucceeded  fo  well  in  obtaining  the  favour  of  Henry  IV.  to  whom 
{he  was  married,  that  he  made  him  one  of  the  gentlemen  of  his  bedchamber-  It  is  faid 
of  him  that  he  had  a  Angular  propenfity  to  amorous  purfuits,  but  that  his  inclination  for 
the  queen  having  been  greatly  mortified  by  her  wifdom  and  virtue,  he  was  affeded  with  a 
falutary  fhame,  became  a  penitent,  and  applied  himfelf  to  exercifes  of  devotion,  which  he 
continued  during  the  remainder  of  his  life.  His  poems  were  colleaed  by  his  fon  Peter 
Francis  Rinuccini,  and  were  printed  at  Florence  in  1624,  with  a  dedication  to  Lewis  XIII. 
An  account  of  this  perfon  is  given  by  Johannes  Vidor  Rofcius  in  his  Pinacotheca  II.  pag, 
61,  publifhed  under  the  name  of  Janus  Nicius  Erythraeus. 

into 


Chap.  I.      AND    PRACTICE    OF    MUSIC.  427 

into  pradlce,  was  performed  only  to  a  feled  and  private  audience  ; 
and  the  merit  attributed  to  this  piece  encouraged  him  to  write  an 
opera  called  Eurydice  *.  The  mufic  both  to  the  paftoral,  Daphne, 
and  the  opera,  Eurydice,  was  compoled  by  Jacopo  Peri,  who  on  this 
occafion  is  faid  to  have  been  the  inventor  of  that  well  known  fpecics 
of  compofition.  Recitative  f.  The  Eurydice  was  reprefented  on  the 
theatre  at  Florence  in  the  year  1 600,  upon  occafion  of  the  marriage  of 
Mary  de  Medicis  with  Henry  IV.  of  France.  Rinuccini  dedicated  his 
opera  to  that  queen,  and  in  the  following  paffage  declares  the  fenti- 
mentshe  was  taught  to  entertain  of  it  by  his  friend  Peri. 

*  It  has  been  the  opinion  of  many  perfons,  mod  excellent  queen, 
that  the  ancient  Greeks  and  Romans  fung  their  tragedies  throughout 
on  the  rtage,   but  fo  noble   a   manner   of  recitation  has  not  that  I 
know  of  been  even  attempted  by  any  one   till  now:  ar^j^  jKIc   T 
thought  was  owing  to  the  dctea  of  the  modern  mufic,  which  is  far 
infeHor  to  the  ancient;  but  Meffer  Jacopo  Peri  "^^^^e  me  entirely 
alter  my  opinion,  when  upon  hearing  the  intention  of  Meffer  G.a- 
como  Corfi  and  myfelf,  he  fo  elegantly  fet  to  mufic  the  paftoral   of 
Daphne,  which  I  had  compofed  merely  to  make   a  trial  of  the 
power  of  vocal  mufic  in  our  age,  it  pleafed  to  an.  incredible  degree 
ihofe  few  that  heard  it.     From  this  I  took  courage  :  the  fame  piece 
being  put  into  better  form  and  reprefented  anew  m  the  houfe  of 
Meffer  Peri,  was  not  only  favoured  by  all  the  nobility  of  the  coun- 
try   but  heard  and  commended  by  the  moft  ferene  grand  duchef., 
and  the  moft  illuftrious  Cardinals  dal  Monte  and  Montalto.     But 
the  Eurydice'has  met  with  more  favour  and   fuccefs,  being  fet  to 
mufic  by  the   fame  Peri    with    wonderful   art ;  and   having   bten 

»  NIciusErythr^usafcribes  to  him  two  other  operas,  A';ethufa  and  Arhclne 
+  This  is   the   general   opinion,  and  it  is  the    more  likely  to  be  true,  as   1  en   has. 
.'moft  in  term    related  the  procefs  of  the  invention.     Neverthelefs  fome  write,  s.  and  par- 
ilvKtrW    have  given  the  honourof  it  toGiulio  Caccini,  a  contemporary  mufician 

.„J   Romans   r Vide  Crcfcimbeni,    Commentarj   iiitomo  all     Ktoria  della  vo.gai  roen, 
,„d  Romam  [ ^'^e  ^  e,c.  ,  ^_^^.^J^  ^^^^^^^  compofuions  now  exunt,  .l,<re 

which  conftitutes  the  difference  between  recitauve  and  fong.  ,Ur..ahf 

M  m  m  2  tncugiu 


428  HISTORY    OF    THE    SCIENCE       Book  IF. 

*  thought  worthy  to  be  reprefented  on  the  flage,  by  the  bounty  and 

*  magnificence  of  the  moft  ferene  grand   duke,  in  the  prefence  of 

*  your  majefty,  the  cardinal  legate,  and  fo  many  princes  and  gentlemen 

*  of  Italy  and  France;  from  whence,  beginning  to  find  how  well  mufi- 
«  cal  reprefentations  of  this  kind  were  Hkely  to  be  received,  I  refolved 

*  to  publifh  thefe  two,  to  the  end  that  others  of  greater  abilities  than 

*  myfelf  may  be  induced  to  carry  on  and  improve  this  kind  of  poetry 

*  to  fuch  a  degree,  that  we  may  have  no  occafion  to  envy  thofc  ancient 

*  pieces  which  are  fo  much  celebrated  by  noble  writers.* 

Father  Meneftrier  confirms  the  above  account,  adding  thereto 
fome  farther  particulars  in  the  following  paflage. 

*  Ottavio  Rinuccini,  a  Florentine  poet,  having  a  particular  talent 
«  at  exprefling  in  his  verfes  all  kinds  of  paffions,  found  means  to- 
«  adapt  mufic  and  finging  to  them  fo  well,  that  they  neither  deftroy- 

*  ed  any  part  of  the  beauty  ot  the  verfes,  nor  prevented  the  diflindt 

*  underftanding  of  the  words,  which  is  often  hindered  by  an  affeded 
«  multiplicity  of  divifions.     He  confulted  in  this,  Giacomo  Corfi,  a 

*  gentleman   of  Florence,    well    fkilled   in   mufic  and  polite  litera- 
'  ture,  and  both   calling  in   Giacomo   Cleri  *,  and  Giulio  Caccini, 

*  excellent  mafters  in  mufic,  they  together  compofed   a  drama  en- 

*  titled  Apollo  and  Daphne,   which   was  reprefented   in  the  houfe 

*  of  MefiTer  Corfi,  in  the  prefence  of  the  grand  duke  and    duchefs 

*  of  Tufcany,    and    the   cardinals   Monti   and    Montalto,   with   fo 

*  much  fuccefs,  that  he  was  encouraged  tocompofe  another,  namely,. 

*  his  Eurydice,  and  caufed  it  to  be  exhibited  foon  after  at  the  fame 

*  place.      Claudio  de  Monteverde,  an  excellent  mufician,  compofed 

*  the  mufic  to  the  Ariadne  on  the  model  of  thefe  two ;  and   being 

*  made  chapel-mafier  of  St.  Mark's  in  Venice,   introduced  into  that 

*  city  thefe  reprefentations,  which  are  now  become  fo  famous  by  the 
<  magnificence  of  the  theatres  and  drefs,   by  the  delicacy  of  voices,, 

*  harmony  of  concerts,  and  the  learned  compofitions  of  this  Monte-- 
'  verde,  Soriano,  Giovanelli,  Teofilo,  and  other  great  mafters  -t*.' 

•  This  (houW  be  Jacopo  Peri. 

f  Des  Reprefentat.  en  Mufique,  pag.  163,  et  feq. 

That  Kircher  {hould  afcribe  to  Caccini  rather  than  Peri  the  invention  of  Recitative,  can 
onlr  be  accounted  for  by  this  circumftance,  that  Meneftrier's  book  was  not  pubiifhed  till 
thiry  years  after  the  writing  of  the  Mufurgia  ;  and  though  he  hints  at  Peri's  preface  to 
the  turydice,  it  does  not  appear  that  he  had  ever  feen  it. 

That  they  were  both  excellent  muficians  is  not  to  be  doubted  ;  of  CaCcir^i  very  little  is 
knowj,  except  that  he  was  by  birth  a  Roman.     Peri  was  a  Florentine,  and  is  celebrated 

by 


■V 


Chap.  I.       AND    PRACTICE    OF    MUSIC.  429 

Count  AlgarottI,  from  a  preface  of  Peri  to  the  Eurydice,  has  given 
a  very  fuccina  relation  of  the  occafion  and  manner  of  this  invention 
in  the  following  words  :  '  When  he  [Peri]  had  applied  hlmfelf  to  an 
«  inveftigation  of  that  fpecies  of  mufical  imitation  which  would  the 
«  readieft  lend  itfelf  to  the  theatric  exhibitions,  he  directed  his  re- 
'  fearches  to  difcover  the  method  of  the  ancient  Greeks  on  fimilar  oc- 

*  cafions.     He  carefully  remarked  what  Italian  words  were,  and  what 

*  were  not  capable  of  intonation  ;  and    was  very   exadt  in  minuting 

*  down  the  feveral  modes  of  pronunciation,  and  the  proper  accents  to 

*  exprefs  grief,  joy,  and  all  the  other  afFedions  of  the  human  mind, 

*  with  a  view  to  make   the  bafe  move  in  proper  time,   now  with 

*  more  energy,  now  with  lefs,  according  to  the  nature  of  each.  ^  So 

*  fcrupulous  was  he,  that  he  attended  to  all  the  niceties  and  peculiari- 

*  ties  of  the  Italian  language,  and  frequently  confnl ted  -irh  r.v.rol 

*  gentlemen  not  lefs  celebrated  for  the  delicacy  of  their  ears,  than 

*  for  their  ikiU  in  the  arts  of  mufic  and  poetry. 

'  The  conclufion  from  this  enquiry  was,  that  the  ground- work  of  the 

*  imitation  propofed  fhould  be  an  harmony,  following  nature  Itep 

*  by  ftep,    in   a  medium   between  common  fpeaking   and  melody. 

*  Such  were  the  ftudies  of  the  mufical  compofers  in  former  times. 
■  •  They  proceeded  in   the  improvement  of  their  art  with  the  utmoft 

*  care  and  attention,  and  the   effedt   proved  that  they  did  not   lofe 
«  their  time  in  the  purfuit  of  unprofitable  fubtleties  *  . 

Thefeare  the  accounts  which  the  writers  of  greateft  authority  give 
of  the  invention  of  the  mufical  drama  or  opera  as  it  is  called  +  j  and 
from  this  period  it  will  not  be  very  difficult  to  trace  its  progrefs  and 

farther  improvement.  r  •  wr^of. 

In  the  extract  herein  before  given  from  Meneftrier,  it  is  faid  that 

the  Ariadne  of  Rinuccini  was  fet  to  mufic  by  Claudio  Monteverde  ;. 

bv  Nicius  Ervthrsus,  in  his  Pinacothecal.  pag.  144 1  ^^  ^'"^^"T^T^'l  ^"' S^l^tTrs 
Z]\nZoIvmorLdcU^  volgar  Poefia,  vol.1,  pag   .33,  and  mdeed  by  moft  unters- 

that  have  taken  occafion  to  mention  him. 

*  Saggio  fopra  I'Opera  in  mufica  del  SignorConte  Algarotti,  pag   27-        . 

+  Fofmerly  a  common  appellation  to  denote  it  was, '  Opera  con  mtcmedn       Th  s  ap 
t^ears  bvTpaLgcin  th.  life  of  Padre  Paolo  Sarpi,  wherem  a  relation  is  made  of  many  at- 
^^:^^^^^  excellent  perfon,  and  of  one  in  particular    wherem  a  fr.nd  of  h. 
PaTre  Fulijentio,  was  wounded,  the  aflairms  miftakmg  hm.  for  Father  Paul.     The  relater 
fays  that  there  murderers  efcaped,  and  adds  that  by  a  (Irange  -^^^^^"V^'^^j;!^^;^"^^^;; 
fila  fo  ouicklv  as  thev  might  have  been,  for  that  that  evenmg  was  prefented  at  the  thea  re. 
^fSt.Lui7an\%era'^^^  ^hich  occafioned  fo  great  a  concourfe  of  people,, 

that  the  murderers. found  means  to  retreat,  ^^.^^ 


4:o 


HISTORY    OF   THE   SCIENCE      BookI\f. 


this  is  in  the  higheft  degree  probable,  not  only  becaufe  Monteverde 
was  at  that  time  in  high  reputation,  being  then  Maeftro  di  Cappella 
to  the  republic  of  Venice*;  but  becaufe  an  opera  of  his  intitled 
L'Orfeo,  Favola  in  Mufica,  is  extant  which  was  reprefented  at  Man- 
tua but  a  very  few  years  after  the  Eurydice,  viz.  in  1607,  correfpond-" 
ing  moft  exadly  with  thofe  fet  to  mufic  by  Perij  that  is  to  fay,  it  con- 
fifls  of  airs  and  chorufles,  with  an  intermixture  of  recitative  ;  anfwer- 
ing  to  the  defcription  thereof  in  the  pafiage  above  cited  from  Alga^ 
rotti,  taken,  as  he  afferts,  from  the  preface  of  Peri  to  the  Eurydice. 

This  opera,  for  ought  that  can  now  be  learned,  was  the  firfl;  ever 
printed  with  the  mufic,  and  is  fuppofed  to  have  been  published  foon 
after  its  reprefentation.  A  new  edition  of  it  was  printed  at  Venice 
in  1615,  by  Ricciardo  Amadino. 

xko  Aruaure  of  this  drama  is  fo  very  unlike  that  of  the  modern 
opera,  as  to  render  it  a  fubjedt  of  curious  fpeculation  ;  for  firfl:  it  is  to 
be  obferved  that  in  the  performance  of  it  no  accompanyment  of  a 
whole  orcheflra  was  required  ;  but  the  airs  performed  by  the  feveral 
fingers  were  fufl:ained  by  inflruments  of  various  kinds  afllgned  to  each 
charadier  refpedively  in  the  dramatis  perfonae,  which  flands  thus  in 
the  firft  page  of  the  printed  book. 


Personaggi. 

La  Mufica  Prologo 

Orfeo 

Eurydice 

Choro  di  Ninfc  e  Paftori 

Speranza 

Caronte 

Chori  di  fpiriti  infernali 

Proferpina 

Plutone 

Apollo 

Choro  de  paflori  che 

fecero  la  Morefca 

nel  fine. 


Stromenti. 

Duoi  Grauicembani 

Duoi  contrabafli  de  Viola 

Dieci  Viole  da  brazzo 

Un  Arpa  doppia 

Duoi  Violini  piccoli  alia  Francefe 

Duoi  Chitaroni 

Duoi  Organi  di  legno 

Tre  Baflj  da  gamba 

Quattro  Tromboni 

Un  Regale 

Duoi  CornettI 

Un  Flautina  alia  vigefima  feconda 

Un  Clarino  con  tre  trombe  fordine  4- 


*  The  Ariadne  of  Monteverde  is  celebrated  by  Gio.  Battifta  Doni  in  his  treatife  Dc 
Prseftantia  Muficie  veteris,  pag.  67. 

f  The  names  of  the  feveral  infl:run:ients  above-mentioned  require  fome  particular  expla- 
fiation  ;  and  firft  it  is  to  be  obferved,  that  the  word  Grauicembani  is  mifprinted,  and 

Ihould 


Chap.  I.       AND    PRACTICE    OF    MUSIC.  431 

By  the  firft  perfonage  is  to  be  underftood  the  Genius  of  inufic,  who 
fometimes  fpeaks  in  that  charader  at  large. 

The  overture,  if  it  may  be  called  by  that  name,  is  a  fhort  prelude, 
eight  bars  of  breve  time  in  length,  in  five  parts,  for  a  trumpet  and 
other  inftruments,  and  confifts  of  two  movements,  the  lafl  whereof 
is  termed  Ritornello,   a  word  fignifying  the  fame  with  fymphony. 

(hould  be  Clavicembani,  for  the  word  Clavicembano  occurs  frequently  throughout  the 
©pera,  and  Grauicembani  never  :  as  to  Clavicembano,  it  is  fuppofed  to  mean  the  fanieas 
Clavicembalo,  the  true  Italian  appellation  for  a  haipfichord. 

As  to  the  Contrabaffi  de  Viola,  thefe  are  fuppofed  to  mean  viols,  of  a  fize  between  the  te- 
nor viol  and  violin. 

The  Viole  da  brazzo,  of  which  it  is  to  be  obferved  there  are  ten  required  in  the  per- 
formance of  this  opera,  were  clearly  the  arm-viol  or  tenor  viol  ;  the  term  da  brazzo  being 
Hfed  in  contradiftin£lion  to  da  gamba,  which  is  appropriated  to  that  fpecies  of  bafe  viol 
which  in  the  performance  on  it  is  placed  between  the  legs. 

The  Arpadoppia  feem^  to  be  the  double-ftrungharp,  an  inftrument,  which  though  by/ 
fome  faid  to  have  been  invented  by  the  Welfh,  and  by  others  by  the  Irifli,  was  very  well  ■■ 
known  at  this  time. 

The  Violini  piccoli  alia  Francefe  mufl:  in  ftri<9:nefs  fignify  fmall  violins  ;  and  of  thefe 
there  are  none  now  known  .but  that  contemptible  inftrument  called  the  Kit,  which  hardly 
any  butdancing-mafters  are  ever  known  to  touch;  it  is  therefore  probable  that  by  Violini 
J)i.ccoli  we  are  to  underftand  common  treble  violins ;  and  this  is  the  more  likely,  as  violin* 
are  no  where  elfe  mentioned  in  the  catalogue  of  iriftruments  now  under  confideration. 

The  noun  Chitaroni  is  the  nominative  cafe  plural  of  Chitarra,  of  which  the  word  Gui- 
tar is  manifeftly  a  corruption. 

Organi  di  legno,  of  which  two  are  here  required,  can  fignify  nothing  but  organs  of 
wood,  that  is  to  fay,  organs  with  wooden  pipes  ;  for  it  is  well  known  that  nioft  organs  arc 
compofed  both  of  wooden  and  leaden  pipes. 

The  Bafli  da  gamba  were  clearly  leg  viols  above  defcribed. 

The  Tromboni  could  be  no  other  than  trumpets,  concernitig  which  it  is  unneceflary  in 
this  place  to  be  particular. 

The  inftrument  againft  the  name  of  Apollo,  is  Un  Regale,  a  Regal,  which  term  has  al- 
ready been  ftiewn  to  mean  a  fmall  portable  organ,  probably  with  pipes  of  metal. 

The  fliepherds  who  fing  the  laft  chorus,  dance  alfo  a  Morefca ;  this  it  fcems  they  do  to  the 
inftruments  mentioned  in  the  laft  three  lines  of  the  above  catalogue.  The  Cornet,  though 
an  inftrument  now  out  of  ufe,  is  very  well  defcribed  by  .Merfennus,  Kircher,  and  other 
writers  on  mufic.     But  the  Flautino  alia  vigefima  fecondo,  merits  a  very  particular  enquiry. 

It  is  well  known  that  of  the  flute  Abec,  which  has  already  been  defcribed  in  this  work, 
there  are  various  fizes,  fmaller  than  that  formerly  ufed  in  concerts,  and  which  was  therefore 
called  the  concert  flute,  and  that  of  thefe  the  loweft  note,  though  nominallyF,muft  in  power 
anfwer  to  that  found  in  the  great  fyftem,  to  which  it  correfponds  in  a  regular  courfe  of  fuc- 
ceffion  upwards  ;  for  this  reafon  that  fized  flute  whofe  loweft  note  F  was  an  unifon  with  the 
note  f  in  the  acutes,  was  called  an  odlave  flute.  Un  Flautino  alia  vigefima  fecondo,  by  par 
tity  of  reafon  muft  therefore  mean  a  treble  oflave  flute,  i.  e.  a  flute  whofe  nominal  F  was 
by  the  fmalhiefs  of  the  inftrument  removed  three  o£laves,  meafured  by  the  interval  of  a 
twenty-fecond  above  its  true  and  proper  fituation  in  the  fcale.  A  flute  thus  fmall  could  not 
be  much  bigger  than  the  oaten  reed  fo  frequently  mentioned  by  the  paftoral  poets. 

The  word  Clarino,  as  Altieri  renders  it,  is  a  fmall  trumpet,  perhaps  an  oflave  higher 
than  the  noble  inftrument  of  that  name. 

The  Trombe  fordine  were  probably  trumpets  of  a  lefs  (hrill  and  piercing  found  than 
thofc  of  this  day  ;  but  this  is  only  conjecture. 

This 


432  HISTORY   OF  THE   SCIENCE     Book  IV. 

This  compofition,  which  the  author  calls  a  Toccato,  from  toccare, 
to  touch,  is  direded  to  be  founded  three  times  *  Auanti  il  leuar  da  la 
*  tela,*  before  the  rifing  of  the  cloth  or  curtain. 

To  the  overture  fucceeds  the  prologue,  confifting  of  five  fpceches 
in  recitative  ;  it  is  fpoken  by  the  firft  of  the  perfonages  named  in  the 
dramatis  perfonjE,  who  reprefents  the  Genius  of  mufic,  and  fometimes 
fpeaks  in  that  charader  at  large,  and  at  others  in  the  perfon  of  a  fm- 
gle  performer,  as  thus,  *  I  fu  cetera  d'or  cantando  foglio  -y  the  pur- 
port of  thefe  fpeeches  fcverally,  is  to  declare  the  argument  of  the 
opera,  to  excite  attention,  and  enjoin  filence,  not  only  on  the  au- 
dience, but  on  the  birds,  and  even  things  inanimate,  as  in  the  fol- 
lowing inftance  : 

*  Hor  mentre  I  canti  alterno  hor  lieti  hor  mefti, 

*  Non  fi  moua  Augellin  fra  quefte  piante, 

*  Ne  s'oda  in  quefte  rive  onda  fonante 

*  Et  ogni  auretta  in  fuo  camin  s'  arrefti.' 

The  opera  then  begins  with  a  fpeech  in  recitative  by  a  fhepherd, 
which  is  immediately  fucceeded  by  a  chorus  of  five  parts  in  counter- 
point, directed  to  be  fung  to  the  found  of  all  the  inftruments.  Other 
choruffes  are  direcfled  to  be  fung  to  the  found  of  guitars,  violins,  and 
flutes,  as  particularly  mentioned  in  the  opera :  folo  airs  there  arc 
none;  but  Recitatives,  ChorufTes,  andRitornellos,Terzetti,  andDuetti, 
make  up  the  whole  of  this  opera,  which  concludes  with  what  the 
author  calls  a  Morefca  ;  this  is  a  compofition  in  five  parts,  merely 
inftrumental,  and  conjectured  to  be  the  tune  of  a  dance  a  la  Morefca, 
or  after  the  fafliion  of  the  Moors,  who  it  is  well  known  long  before 
this  time  fettled  in  Spain,  and  introduced  into  that  kingdom  many 
cuftoms  which  were  adopted  in  other  countries. 

A  fpecimen  of  recitative  mufic,  in  the  form  in  which  it  was  ori- 
ginally conceived,  cannot  at  this  day  but  be  deemed  a  curiofity ;  as 
muft  alfo  an  air  in  one  of  the  firft  operas  ever  compofed ;  for  thefe 
reafons  the  following  dialogue  and  duetto  are  inferted,  taken  from 
the  fifth  adt  of  the  Orfeo  of  Claudio  Monteverde. 


Chap.  I.       AND    PRACTICE    OF    MUSIC. 


433 


Apollo  dercende  in  una) 
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434:         HISTORY    OF   THE    SCIENCE      BookIV.>r 


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Chap.  J.      AND   PRACTICE   OF   MUSIC  43J 


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436  HISTORY    OF    THE    SCIENCE      Book  IV. 


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CLALDIO  MONTE^^BJJZ 


Chap.  i.       AND    PRACTICE    OF    MUSIC.  43^ 

Notwithflanding  that  this  kind  of  melody  is  faid  by  the  inventors 
€f  it  tocorrefpond  with  the  method  of  enunciation  pradifed  by  the 
ancient  Greeks  and  Romans,  it  may  well  be  queftioned  whether  the 
difference  between  the  one  and  the  other  was  not  very  great  for  this 
reafon,  that  the  inflexions  of  the  voice  in  the  modern  recitative  do  not 
preferve  a  medium  between  fpeaking  and  finging,  but  approach  too 
nearly  towards  the  latter  to  produce  the  effcds  of  oratory. 

There  is  no  final  chorus  of  voices  to  the  opera  from  whence  the 
above  extradsare  made,  but  the  reprefentation  concludes  with  a  dance 
to  the  following  tune. 


MORESCA 


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Chap.  2.     AND    PRACTICE    OF    MUSIC.  441 


CHAP.  11. 


"^HERE  is  very  little  doubt  but  that  the  Cantata  Spirituale,  or 
what  we  now  call  the  Oratorio,  took  its  rife  from  the  Opera. 
Meneftrier*  attributes  its  origin  to  the  Crufades,  and  fays  that  the  pil- 
grims returning  from  Jerufalem  and  the  Holy  Land,  from  St.  James  of 
Compoftclla,  and  other  places  to  which  pilgrimages  were  wont  to  be 
made,  compofed  fongs,  reciting  the  life  and  death  of  the  Son  of 
God,  and  the  myfteries  of  the  Chriflian  faith,  and  celebrating  the 
atchievements  and  conftancy  of  faints  and  martyrs.  This  feems  to 
be  a  mere  conje<5iure  of  Meneftrier  j  other  writers  render  a  much 
more  probable  account  of  the  matter,  and  exprefsly  fay,  that  the 
Oratorio  was  an  avowed  imitation  of  the  opera,  with  this  difference 
only,  that  the  foundation  of  it  was  ever  fome  religious,  or  at  lead 
moral  fubjedt.     Crefcimbeni  fpeaks  of  it  in  thefe  terms  : 

*  The  Oratorio,  a  poetical  compofition,  formerly  a  commixture  of 

*  the  dramatic  and  narrative  ftyles,  but  now  iniirely  a  mufical  drama, 

*  had  its  origin  from  San  Filippo  Neri -^j  who  in  his  chapel,  after 

*  fermons  and  other  devotions,  in  order  to  allure  young   people  to 

*  pious  offices,  and  to  detain  them  from  earthly  pleafure,  had  hymns, 

*  pfalms,  and  fuch  like  prayers  fung  by  one  or  more  voices.     Thefe 

*  in  procefs  of  time  were  publiflied  at  Rome,  and  particularly  in  a 

*  book  printed  in  1585,  with  the  imXq  oi  Laudi Spirituali, Jla?}ipate  ad 

*  ijlanza  de  RR.  PP.  ddia  Congregazione  deW  Oratorio -y  and  another  in 

*  1603,  entitled  L(^W/  Spirituali di  divcrjiyjolite  cantarji dopo  ferment  da 

*  PP.  della  Congregazione  deli'  Oratorio.     Among  t he fe  fp i r i t u al  fo n g s 

*  were  dialogues;  and  thefe  entertainments  becoming  more  frequent, 

*  and  improving  every  year,  were  the  occaiion  that  in  the  fcventeenih 

*  Des  Reprefent.  e.n  Mufique,  pag  153. 

f  St,  Philip  Neri  was  born  at  Florence  in  the  year  1515.  He  "as  intended  by  bis 
parents  for  a  merchant,  and  to  that  end  was  fent  to  hi.s  uncle,  who  lullowed  ihat  emp  oy- 
ment,  to  be  infl:ru6led  therein,  but  he  betook  himfelf  to  ftudy  and  cxercifes  of  devotion, 
and  became  an  ecclefiaftic.  The  congregation  of  the  Falhe'rs  of  the  Oratory',  loinuled  by 
him,  is  an  inftitution  well  known  :  in  the  {irft  eftablinimeut  of  it  he  was  jiflifled  by  CicCir, 
afterwards  Cardinal  Baronius,  who  was  his  diiciple.  Jiaronius  in  his  annals  has  borne  an 
honourable  teftimony  to  his  character  and  abilities,  by  flyling  him  the  original  author  and 
contriver  of  that  great  work.  There  is  an  account  of  iSt.  l^hilip  Neri  in  Uibadeneyra'* 
Lives  of  the  Saints,  by  means  wheieof,  notwithlfanding  the  many  Hlly  fl:o:ics  and  palppl^le 
lalfities  related  of  him,  it  is  eafy  to  difcover  that  he  was  both  a  devout  and  learHcd  man. 

Vol.  111.  O  o  o  .  *  ccn- 


442  HISTORY    OF    THE    SCIENCE       Book  IV. 

*  century  oratorios   were   firft  invented,  fo  called  from  the  place  of 

*  their  origin  *.     It  is  not  known  who  was  the  firft  that  gave  them 

*  this  name,  not  even  by  the  fathers  of  the  Congregation,  who  have 

*  been  afked  about  it.    We  are  certain  however  that  Oratorios  could 

*  not  begin  before  the  middle  of  the  above-mentioned  century;  as 
«  we  do  not  find  any  before   the   time   of  Francefco  Balducci,  who 

*  died  about  the  year  1645,   in  whofe  colledion  of  poems  there    are   - 

*  two,  one  entitled  **  La  Fedey  ove  fi  fpiega  il  -Sagrifizio  d'  Abramo," 
the  other  "  II  T^rionfo  fopra  la  Santiilima  Vergine ;"  and  although 

*  Giano  Nicio  Eritreo,  who  flourifhed  even  before  1640,  fpeaking 
of  Loreto  Vettori,  of  Spoleto,  an  excellent  mufician  and  a  good 
poet,  fays  that  on  a  certain  night  he  heard  him  fing  in  the  Oratory 

*  of  the  above-mentioned  fathers,  Magdalene^  fua    dejientis    crimina, 
feque  ad  Chrijii pedes  abjicientis,  querlmoiiia  ;  which  lamentation  might 

be  in  that  kind  of  poetry  we  are  juft  fpeaking  of;  yet,  as  the  author 

*  of  it  is  unknown,  and  the  time  not  certain  when  it  was  fung,  wc 
«  cannot  fay  it  preceded  the  Oratorios  of  Balducci  -f-. 

•  Thefe  compofitions  in  the  beginning  were  a  mixture  of  dramatic 

*  and  narrative  parts,  for  under  the  name  of  hiftory,  in  thofe  of  Bal- 

*  ducci  or  of  Tefto,  as  well  as  in  all  others,  the  poet  has  introduced 
<  the  dramatis  perfonae ;  but  although  Teflo's  manner  has  been  fol- 

*  lowed  even  in  our  days,  at   prefent  it  is  quite  aboliHicd,  and  the 

*  Oratorio  is  a  drama  throughout.     Of  thefe  fome  are  ideal,  others 

*  parabolical,  and  others  with  real  perfons,  which  are  the  mofl:  com- 

*  mon,  and  others  are  mixed  with  both  the  above-mentioned  kinds 

*  of  perfons :  they  are  generally  in  two  parts,  and,  being  f^t  tomu- 
«  fie,  take  up  about  two  hours  in  the  performance  ;  yet  Malatefta 
«  Strinati,  and  Giulio  Cefare  Grazini,  both  men  of  letters,  publiOied 
'  two  Oratorios,  the  former  on  St.  Adrian,  divided  into  three  ads,  the 

*  latter  on  St.  George,  into  five.  No  change  of  place  or  length  of 
«  time  isobferved  in  them,   for  being  fung  without  ading,  fuch  cir- 

*  cumflances  are  of  no  fervice.  The  metre  of  them  is  like  that  of 
«   the  mufical  drama,  that  is   to  fay,  the  lines  rhymed    at  pleafure  ; 

*  they  are  full  of  airs,  and  are  truly  very  agreeable  to  hear  when  com- 

*  This  though  the  true,  is  but  an  aukward  etymology.  The  fociety  here  fpoken  of,  La 
Congregazione  dei  Padri  'iell'  Oratorio,  evidently  derives  its  name  from  the  verb  Orare,  an 
oratory  being  a  place  of  prayer  :  in  this  infUnce  the  appellative  Oratorio  is  transferred  from 
the  place  to  the  exercife  ;  a  fingular  proof  how  inadequate  the  powers  of  language  are  to 
'^ur  ideas. 

t  Jaai  Nicii  Erythrsei  Pinac.  altera  Ixviii.  art.  Loretus  Victorius. 

*  pofed 


Chap.  2.      AND    PRACTICE    OF    MUSIC.  44;^ 

*  pofed  hy  good  authors,  fuch  as  Cardinal  Pier  M.U tec  Pet rucci,  and 

*  Gio.  FiJippo  Berninoa,   prelate  in  the  court   of  Rome,  among  the 

*  dead  ;   and  Cardinal  Benedetto  Panfilio,   and  Pietro  Ottoboni,   now 

*  living,  who  both  in  this,   as  well  as  in  all  kinds  of  poetry,  are  ar- 

*  rived  at  great  excellency. 

'  But  although  Oratorios  are  at  prefent  fo  much  in  vogue,  we  have 

*  not  loft  intirtdy  the  manner  of  (inging  facred   things,  for  we  hear 

*  fome  of  them  in  thofe  dialogues  which  are  called  Cantatas,  and  par- 

*  ticularly  in  the  fummer,  when  the  fathers  of  Vallicella  perform  their 

*  concerts  in  the  garden  of  the  monks  of  St.  Onofrio.     This  cuflom 

*  is    likewife  followed  with  great  fplendor  at  particular  times  of  the 

*  year  by  Cardinal  Gio.  Battifta  Spinola  of  St.  Cecilia,  who  on 
«  Wednefdays  has  fome  very  fine  ones  performed  in  his  palace;  for 
'  the  mofl  part  the  compofition  of  Flaminio  Piccioni,  an  eminent  dra- 

*  matic  poet.  There  is  fung  befides  every  year  on  Chriftmas  eve  in 
'  the  pontiffs  palace,  a  charming  cantata,  in  the  prefence  of  the  fa- 

*  cred  college,  for  whom  Giubileo  da  Pefaro,  who  died  a  few  years 

*  ago,compofed  fome  very  famous  j  as  likewife  Paolo  Francefco  Carli, 
'  a  Florentine  poet,  not  lefs  celebrated  for  his  ferious,  than  his  comic 

*  produdions  :  and  this  year  the  advocate  Francefco  Maria  de  Conti 

*  di  Campello  has  favoured  us  with  one,  that  for  fweetnefs  of  verfi- 

*  fication,   nobility  of  fentiment,   and  allufion  to  the  prefent  affairs  of 

*  Italy,  deferves  to  be  highly  commended  *.' 

To  this  account  of  Crefcimbeni  Monf  Bourdelot  adds,  that  St.  Philip 
Neri  having  prevailed  upon  the  mofl  fkilful  poets  and  muficians  to  com- 
pofe  dialogues  in  Italian  verfe,  upon  the  principal  iiibjedts  of  the  Holy 
Scripture,  procured  fome  of  the  fmefl  voices  of  Rome  to  fing,  accoai- 
panied  with  all  forts  of  inflruments,  and  a  band  of  muficin  the  in- 
terludes.— That  thefe  performances  confifted  of  Monologues,  Dia- 
logues, Duos,  Trios,  and  Recitatives  of  four  voices  j  and  that  the 
fubjeds  of  fome  of  them  were  the  converfation  of  the  Samaritan  wo- 
man with  the  Son   of  God  ;   of  Job  with   his    friends,    exprefTin^  his 

mifery  to  them — The  prodigal  ion  received  into  his  father's  houfc 

Tobias  with  the  angel,  his  father,  and  wife — The  angel  Gabriel 
with  the  Virgin,  and  the  myftery  of  the  incarnation. — That  the  no- 
velty of  thefe  religious  dramas,  and,  above  all,  the  exquifite  flyle  of 
niufic  in  which  they  were  compofed,  drew  together  fuch  a  multi- 
•  Crefcimb.  Comm.  int.  all'  Iftor.  della  volg.  Poefia,  vol.  I.  lib.  iv.  pag.  256. 

O  o  0  2  tude 


444  HISTORY    OF    THE    SCIENCE       Book  IV. 

tude  of  people  as  filled  the  church  boxes,  and  the  money  taken  for 
admiflion  was  applied  in  defraying  the  expences  of  the  performance. 
Hence  the  origin  of  Oratorios,  as  they  are  now  flyled,  or  fpiritual 
(hews  *,  the  pradice  whereof  is  now   become  fo  general  in  Rome, 

*  This  is  a  miftake  ;  fpiritual  fliews,  thongh  not  with  mufic  and  recitative,  are  much 
more  ancient  than  the  time  of  St.  Philip  Neri.  The  fraternity  del  Gonfalone,  as  it  is 
called,  was  founded  in  1264;  and  in  their  flatutes,  printed  at  Rome  in  1584,  it  is  ex- 
prefsly  declared  that  the  principal  end  of  the  inilitution  was,  that  the  members  of  the  fra- 
ternity (houUl  reprefent  the  pailion  of  our  Lord.  It  is  true  that  this  practice  was  abolifhed 
in  the  pontificate  of  Paul  III.  that  is  to  fay,  about  the  year  1548  ;  but  we  learn  from  Cref- 
cimbeni  and  other  writers,  that  reprefentations  of  this  kind  were  common  in  Italy,  and 
the  pradlice  of  great  antiquity.  Vafari,  in  his  life  of  Buiralmacco  the  painter,  gives  an 
account  of  a  feafl  that  was  folemnized  on  the  river  Arno  in  the  year  1304,  where  a  ma- 
chine reprefenting  hell,  was  fixed  on  boats,  and  a  facred  hiftory  a£led,  fuppofed  to  be  that 
of  i^azarus.     Comment,  int.  all'  iftor.  della  volg.  Poefia,  vol.1  lib.  iv.  pag.  241. 

It  is  probable  that  this  reprefentation  fuggefted  to  Pietro  deCofimo,  a  Florentine  paint- 
er, of  whom  Felibien  has  given  an  account,  the  idea  of  a  fpectacle,  the  moft  whimfical, 
and  at  the  fame  time  the  moft  terrifying  that  imagination  can  conceive,  which  in  the  year 
510  he  caufed  to  be  exhibited  at  Florence.  Felibien's  relation  of  it  is  to  this  purpofe: 
Having  taken  a  refolution  to  exhibit  this  extraordinary  fpeflacle  at  the  approaching 
Carnival,  Cofimo  fluit  himfelf  up  in  a  great  hall,  and  there  difpofed  fo  fecretly  every 
thing  for  the  execution  of  his  defign,  that  no  one  had  the  leaft  fufpicion  of  what  he  was 
about.  In  the  evening  of  a  certain  day  in  the  Carnival  feafan,  there  appeared  in  one  of 
the  chief  flreets  of  the  city  a  chariot  painted  black,  with  white  crofTes  and  dead  mens 
bones,  drawn  by  fix  buffalos  ;  and  upon  the  end  of  the  pole  flood  the  figure  of  an  angel 
with  the  attributes  of  Death,  and  holding  a  long  trumpet  in  his  hands,  which  he  found- 
ed in  a  flirill  and  mournful  tone,  as  if  to  awaken  and  raife  the  dead :  upon  the  top  of 
the  chariot  fat  a  figure  with  a  fcythe  in  his  hand,  reprefenting  Death,  having  under  his 
feet  many  graves,  from  which  appeared,  half  way  out,  the  bare  bones  of  carcafes.  A 
great  number  of  attendants,  cloathed  in  black  and  white,  maficed  with  Deaths  heads, 
marched  betore  and  behind  the  chariot,  bearing  torches,  which  enlightened  it  at  diftances 
fo  well  chofen,  that  every  thing  feemed  natural.  1  here  were  heard  as  they  marched, 
muffled  trumpets,  whofe  ho.^rfe  and  doleful  found  ferved  as  a  fignal  for  the.proceffion  to 
flop.  Then  the  fepulchres  were  feen  to  open,  out  of  whi;  h  proceeded  as  by  a  refurrec- 
tion  bodies  refembling  Ikeletons,  who  fung,  in  a  fad  and  melancholy  tone,  airs  fuitable 
to  the  fubje£t,  as  Dolor  plunto  e  Penitenza,  and  others  composed  with  all  that  art  and 
invention  which  the  Italian  mufic  is  capable  of:  while  ihe  procellion  flopped  in  the  public 
places,  the  muficians  fung  with  a  continued  and  tremulous  voice,  the  pfalm  ^<f^^;'frf, 
•accompanied  with  inftruments  covered  with  crape,  to  render  their  founds  more  difraal. 
The  chariot  was  followed  by  many  perfons  habited  like  corpfes,  and  mounted  upon  the- 
ier.nell  horfes  that  could  be  found,  fpred  with  black  houfings,  having  white  crofies  and 
deaths  heads  painted  at  the  four  coiners.  Each  of  the  riciers  had  four  perfons  to  attend 
him,  habited  in  flirouds  like  the  dead,  each  with  a  torch  in  one  hand,  and  a  Ifandard  of 
black  tatfaty  painted  with  white  croiTes,  bones,  and  deaths  ht-ads  in  the  other.  In  fhort, 
ail  that  horror  can  imagine  moft  affeding  at  the  refurieftion  of  the  dead,  was  repre- 
ftnted  in  this  mafquerade,  which  was  intended  to  reprefent  the  triumph  of  Death.  A 
fpe£lacle  fo  fad  and  mournful  flruck  a  damp  through  Florence  ;  and  although  in  a  time 
oi  feitivity,  made  penitents  of  fome,  while  others  admiring  the  ingenious  manner  in 
which  every  thing  was  condu£led,  praifed  the  whim  of  the  inventor,  and  the  execution 
of  a  concert  fo  fuitable  to  the  occafion.' 

Crefcimbeni,  Comm.  int.  all' Iftor.  della  volg.  Poefia,  vol.  I.  lib  iv.  pag.  24.3,  fpeaking 
of  iKofe  reprefentations  of  facred  hiftory,  fays  that  he  had  met  with  one,  namely,  Abrx- 


Chap.  2.       AND    PRACTICE    OF    MUSid  ,^4^ 

that  hardly   a  day  pafTes  in  which  there   are  not  one   or  two  Tuch 
reprefentations  *. 

The  dedudion  of  the  hiftory  of  church-mufic,  herein  before  given, 
contains  an  account  of  the  rife  and  progrefs  of  antiphonal  finging  in 
the  Greek  and  Latin  churches,  the  oppofition  it  met  with,  the  pa- 
tronage given  it  by  the  Roman  pontiffs  at  fucceeding  periods,  the 
form  of  the  choral  fervice  exemphfied  in  the  Cantus  Gregorianus, 
with  a  general  idea  of  the  mufical  offices  dire61:ed  by  the  ritual  of  the 
church  of  Rome,  as  well  on  folcmn  as  ordinary  occafions. 

That  the  mode  of  religious  worfhip,  above  defcribed,  prevailed 
in  all  the  Europc-an  churches  till  the  time  of  the  Reformation, 
is  not  to  be  doubted:  the  firft  deviation  from  it  that  we  are 
now  able  to  trace,  was  that  which  followed  the  reformation  by  Lu- 
ther, who  being  himfelf  a  great  proficient  in,  and  a  paffionate  lover 
of  mufic  ;  and  being  fenfible  of  its  ufe  and  importance  in  divine  v/or- 
(hip,  in  conjunc'tion  with  his  friend  Melandhon  framed  a  ritual,  lit- 
tle lefs  folemn,  and  calculated  to  engage  the  affedions  of  the  people, 
than  that  of  the  church  of  Rome:  and,  to  fay  the  truth,  the  whole 
of  the  liturgy,  as  fettled  by  him,  appears  to  be,  if  not  a  reafonable, 
at  lead  a  mufical  fervice.  The  evidence  of  this  aflertion  is  a  book  in- 
titled  *  Pfalmodia,  hoc  eft  Cantica  facra  veteris  Ecclefis  feleda,' 
printed  at  Norimberg  in  1553,  and  at  Wittemberg  in  1561.  The 
publifber  of  it  was  Lucas  Loflius,  redlor  of  the  college  at  Lunenberg-}-^ 
who  has  ulfo  given  his  own  Scholia  thereon. 

To  fpeak  of  this  work  in  particular,  it  is  prefaced  by  an  epiftle 
.'from  Melandhon  to  the  editor,  whom  he  acknowledges  as  his  inti- 
:mate  friend.  This  is  followed  by  a  dedication  of  the  book  to  the 
-brethren  Frederic  and  John,   fons  of  the  reigning  king  of  Denmark. 

ham  and  Ifaac,  written  by  Feo  Belcari,  and  afted  for  the  firft  time  in  th^  church  of  St. 
Mary  Magdalen  at  Florence  in  1449, 

Thefe  reprefentations,  however  well  intended,  failed  of  producing  the  end  of  their  infti- 
tution  ;  Caftelvetro  fays  that  in  his  time,  and  even  at  Rome,  Chrift's  palhon  was  fo  a£tcd 
as  tofet  the  fpeclators  a  laughing.  la  France  was  a  company  of  flroilers,  incorporated  as 
it  feems  for  the  fame  purpofes  as  the  fraternity  del  Gonfalone,  with  whom  Francis  I.  was 
much  delighted  ;  but  the  abufes  committed  by  them  were  fo  numerous,  that  towards  the 
€nd  of  his  reign  a  procefs  was  commenced  againft  them,  and  in  four  or  five  years  after  his 
deceafe  they  were  baniflied  Fiance.  Rymer,  at  the  end  of  his  Short  View  of  Tragedy,  has- 
given  a  copy  of  the  parliament  roll,  containing  the  procefs  at  length.  He  hasalfo,  be- 
eaufe  ii  contains  a  particular  hiftory  of  the  fbge,  given  an  abridgment  of  it  in  linglifti. 

*  Hid,  de  la  Mufujue,  et  de  fes  Effets,  torn.  I.  pag.  256. 

t  See  aa  accotmt-of  this  perJbn,  pag.  102  of  this  volume. 

The: 


446  'HISTORY    OF   THE    SCIENCE      Book  17. 

The  vvcrk  is  divided  into  four  bookF,  and  the  offices  therein  feverally 
contained  appear  by  the  titles  of  each  as  they  follovv  thus  in  order  : 
Liber    primus,    continens    Antiphonas,    Refponforia,    Hymnos 

et  Sequentias,  qu33  leguntur  diebus  Dcminicls,  et  feftis  Chrifti. 
Liber  fccundus,  continens  cantica  veteris  ecclefia^,  feledta  de  prae- 

clpuis  fefl Is  fandorum  Jefu  Chrifti. 

Liber  tertius,  continens  cantiones  mifla^,    feu  facri,   ut   vocant, 

prTter  Introitus,  quos  fupra  in  Dominicis,  et  feftis  diebus  invenies 

fuo  loco. 

Liber  quartus,  Pfilmi  cum  eorum  antiphonis  feriallbus,  et  Into- 

nationibus,  additis   fcholiis   et  ledlionis   varietate.  ex  Pfalterio  D. 

Georg.  major  I?. 

Calvin,  vvhofe  feparation  from  the  church  of  Rome  was  founded  in 
an  oppofition  as  well  to  its  difcipline  as  its  tenets,  in  his  eftablifti- 
ment  of  a  church  at  Geneva,  reduced  the  whole  of  divine  fervice  to 
prayer,  preaching,  and  (inging  ;  and  this  latter  was  by  him  laid  under 
great  reftraints,  for  none  of  the  offices  in  the  Romifti  fervice,  namely, 
the  Antiphon,  Hymn,  and  Motet,  with  that  artificial  and  elaborate 
mufic  to  which  they  were  fung,  were  retained  ;  but  all  of  mufic  that 
was  adopted  by  him,  confifted  in  that  plain  metrical  pfalmody  now 
in  general  ufe  among  the  reformed  churches,  and  in  the  parochial 
churches  of  this  country.  Not  but  there  is  reafon  to  believe  that  the 
practice  of  pfalmody  had  the  fand:ion  of  Luther  himfelf. 

The  opinion  which  Luther  entertained  of  mufic  in  general,  and 
of  the  lawfulnefs  of  it  in  divine  worftiip,  appears  by  thofe  extrads 
from  his  Colloquia  Menfilia  herein  before  given  ;  and  there  is  good 
reafon  to  believe,  not  only  that  thofe  fweet  Motetae,  which  his  friends 
fung  at  fupper  with  him,  were  the  compofition  of  German  mufi- 
cians,  but  that  German  muficians  were  alfo  the  authors  or  compofers 
of  many  of  thofe  melodies  to  which  the  Pfalms  then  were,  and  even 
now  are,  ufually  fung.  Sleidan  informs  us  that  upon  a  certain  occa- 
fion,  mentioned  by  him  in  his  Hiftory  of  the  Reformation  of  the 
Church,  Luther  paraphrafed  in  the  High  German  languige,  and  fct 
to  a  tune  of  his  own  compofing,  the  forty-fixth  Pfalm,  *  Deus  nofter 
'  refugium.'  It  is  certain  that  he  was  a  performer  on  the  lute;  and 
in  the  work  above  cited  he  fpeaks  of  his  Ikill  in  mufic  as  an  acquifi- 
tion  that  he  would  not  exchange  for  a  great  matter.  Befides  this, 
there  is  a  tradition  among  the  German  Proteftants  that  he   was  the 

author 


Chap.  2.       AND     PRACTICE    OF    MUSIC.  447 

author  of  many  of  the  melodies  to  which  the  Pfalms  are  now  iifually 
fung  in  their  churches  *  ;  and  Bayle  exprefsly  fays  that  to  fing  a  Pialm 
was,  in  the  judgment  of  the  orthodox  of  that  day,  to  be  a  Lutheran. 
All  this  conlidered,  it  is  more  than  probable,  though  hiftory  is  fjlent 
in  this  refpedl,  that  the  pra(flice  of  pfalmody  had  its  rife  in  Ger- 
many. We  are  not  however  to  conclude  from  hence  that  it  was  ad- 
mitted into  the  churches  of  the  reformed,  or  that  it  made  a  part  of 
their  public  woi-fl}ip  in  the  life-time  of  Luther;  it  rather  feems  to  have 
been  confined  to  family  worfhip,  and  confidered  as  a  fource  of  fpiri- 
tual  confolation  ;  and  to  this  purpofe  the  many  devout  ejaculations 
with  which  the  Pfalms  of  David  abound,  render  it  with  a  remark- 
able degree  of  propriety  applicable. 

In  this  fituation  ftood  the  matter  about  a  year  before  the  death 
of  Luther  j  no  vulgate  tranflation  of  the  Pfalter  had  as  then  appeared 
in  the  world,  and  there  was  little  reafon  to  expedl  one  from  any  coun- 
try where  the  reformation  had  not  got  firm  footing,  much  lefs  was 
there  to  think  that  any  fuch  work,  in  a  country  where  the  edablifli- 
ed  religion  was  the  Romifli,  could  poffibly  receive  the  fan(ftion  of 
public  authority.  But  it  fell  out  otherwife  ;  and,  however  paradoxi- 
cal it  may  found,  the  proteftant  churches  were  indebted  for  this  in- 
dulgence to  a  body  of  men  whofe  tenets  indeed  forbad  any  fuch 
hopes,  namely,  the  college  of  the  Sorbonne  at  Paris. 

It  happened  about  the  year  1543,  that  there  lived  in  France,  Cle- 
ment Nlarot,  a  man  moderately  endowed  with  learning,  but  ex- 
tremely improved  by  converfation  with  men  of  parts  and  ingenuity, 
who  with  great  fuccefs  had  addicted  himfelf  to  the  fludy  of  poetry; 
he  had  acquired  great  reputation  by  certain  imitations  of  Tibullus, 
Propertius,  and  Catullus,  and  had  by  an  elegant  tranflation  of  the 
firft  book  of  Ovid's  Metamorphofis  into  the  French  language,  efla- 
bliihed  the  charader  of  a  good  poet.  This  man  being  inclined  to- 
Lutheranifm,  was  perfuaded  by  a  friend  to  publifh  at  Paris  a  French 
verfion  of  the  firft  thirty  of  David's  Pfalms,  which  he  did  by  permif- 
fion  of  the  dodors  of  the  Sorbonne,  wherein  they  declare  that  the 
book  contained  nothing  contrary  to  the  Chriftian  faith  ;  foon  after  he 
added  twenty  more,  but  before  he  could  complete  his  defign,  which 
was  to  have  tranllated  the  whole  in  like  manner,  he  died,  and  a  ver- 

*  Mr.  Handel  has  been  many  times  heard  to  fay  that  the  melody  of  our  hundrett  pfalm, 
■which  by  the  way  is  that  of  the  hundred  and  thirty-fourth  both  of  Goudimel  and  Claude  le 
Jeune's  Pfalms,  and  certain  other  Pfalm-tunes,  were  of  Luther's  compofition. 

doa 


448  HISTORY   OF   THE   SCIENCE     Book  IV. 

fion  of  the  reft  in  French  metre  alfo,  was  fupplied   by   his  friend 
Theodore  Beza. 

Sleidan,  from  whom  the  above  account  is  in  part  taken,  has  be- 
ftowed  this  eulogium  on  Marot.     *  I  thought  it  not  amifs  to  com- 

*  mend  the  name  of  fo  excellent  an  artifl;  to  other  nations  alio;  for  in 

*  France  he  lives  to  all  pofterity  ;   and  mofl:  are  of  opinion  that  hardly 

*  any  man  will  be  able  to  equal  him   in   that  kind  of  writing  ;   and 

*  that  as  Cicero  faid  of  Caeiar,  he  makes  wife  men   afraid  to  write. 

*  Others  and  morelearned  men  than  he,  have  handled  the  fame  fubjed:, 

*  but  have  come  far  (hort  of  the  beauty  and  elegancy  of  his  poems.' 
This  it  is  to  be  noted  is  the  charader  of  Marot  and  his  book,  drawn 

by  a  Proteftant  hiftorian.  Another  writer,  but  of  a  different  per- 
fuafion,  Famianus  Strada,  has  given  a  lefs  favourable  account  of 
both  i  and  yet  perhaps,  allowing  for  that  prejudice  which  he  could 
not  but  entertain  againft  the  author  of  fuch  an  innovation  as  this 
of  Marot  undoubtedly  was,  it  is  fuch  as  will  juftify  the  charader 
that  Sleidan  has  given    of  him  ;   that  of  Strada  is  as  follows  : 

*  Among  the  grooms  of  the  bed-chamber  to  Francis  I.  of  France, 
there  wasoneClementMarot,  born  at  Douve,  a  village  in  theearldom 
of  Namur,  a  man  naturally  eloquent,  having  a  rare  vein  in  French 
poetry,  wherewith  the  king  was  much  taken,  who  therefore  kept 
him  as  a  choice  inftrument  of  his  learned  pleafures.  But  as  his  wit 
was  fomewhat  better  than  his  conditions,  from  his  acquaintance  with 
the  Lutherans  he  was  fufpeded  to  have  changed  his  religion  ;  and 
therefore  fearing  the  king  would  be  offended,  he  fled  to  bis  majefty's 

*  fifter  at  Bern,   the  old  fanduary  for  delinquents  j  a  while  after,  the 

*  king  was  pacified  and  he  returned  to  Paris,  where  he  was  advifed 
'  by  his  friend  Francifcus  Vatablus,  the  Hebrew  ledurer,  to  leave  the 

*  trifling  fubjeds  he  wrote  upon,  and  fludy  divine  poefy.      Thereupon 

*  he   began    to  tranflate   the  Pfalms    of  the   Hebrew  prophet    into 

*  French  flanzas,  but  fo  ignorantly  and  perverfely  *,  as  a  man  altogether 

*  unlearned,  that  the  king,  though  he  often  fang  his  verfes,  yet,  upon 

*  the  juff  con^.plaints   of  the  dodors  of  the  Sorbonne,   and  their  fe- 

*  vere  cenfiire  pafl;  on  them,  commanded  that  nothing  of  Marot  in 
«   that  kind  fliouM  be  from  thenceforth  publiflied.      But  being  forbid 

*  by  procUimation,  as  it  often  happens,  the  longing  of  the  reader,  and 

*  Marot  underftood  not  the  Hebrew  language,  but  was  fuinifl:ied  with  a  tranllation  of 
the  Pfalms  by  Vatablus.     Bayle,  Marot,  in  not. 

*  fame 


Chap.  2.       AND    PRACTICE    OF    MUSIC.  449 

«  fame  of  the  work  was  increafed  fo,  that  new  tunes  were  fet  to  xMa- 

*  rot's  rhymes,  and  they  were  fung  like  profane  ballads.     He  in  the 

*  mean  time  growing  bold  by  the  applaufes  of  the  people,  and  not  able 

*  to  forbear  bragging,  for  fearof  punifliment,  ran  to  Geneva;   and  fly- 

*  mgfrom  thence  for  new  crimes  committed,  and  firft  having  been  well 
'  whipped  for  them,  he  died  at  Turin.     The  fuccefs  of  this  tranfla- 

*  tion  of  the  Pfalms  moved  Theodore  Beza,  a  friend  of  Marot,  and 

*  who  wrote  an  elegy  in  French  on  his  death,  to  add  to  the  fifty  which 

*  Marot  had  publifhed,  a  verfion  in  French  of  the  other  hundred  made 
'  by  himfelf,  fo  the  whole  book  of  David's  pfalms  was  finifhed;  and 

*  to  make  it  pleafing  to  the  people,  tunes  were  fet  to  them  by  excel- 
'  lent  compofers,  that  chimed  fo  fweetly,  that  every  one  defired  to  have 

*  the  new  pfalterj  but  many  errors  in  it  againft  religion  being  de- 

*  teded,  and  the  work  therefore  prohibited,  as  well  becaufe  the  fa- 

*  cred  verfes  of  the  prophet  were  publiflied  in  a  vulgar  tongue  by 

*  profane  perfons,  as  that  they  were  dolo  jnalo  bound  up  with  Cal- 
'  vin's  catechifm  at  Geneva  :  thefe  finging  pfalms,  though  abhor- 
«  red  and  flighted  by  the  Catholics,  remained  in  high  efteem  with  he- 

*  retics  5  and  the  cuftom  of  finging  the  Geneva  pfalms  in  French  at 
'  public  meeetings,  upon  the  highway,  and  in  (hops,  was  thenceforth 

*  taken  for  the  diftindive  fign  of  a  fedlary  *.' 

To  this  account  of  Strada  may  be  added  from  Bayle,  that  the  firft 
publication  of  thirty  of  the  pfalms  was  dedicated  to  Francis  I.  that 
It  was  fo  well  received  by  the  people,  that  copies  could  not  be  print- 
ed fo  faft  as  they  were  fold  off;  that  they  were  not  then  i^i  to  mufic 
as  they  are  now,  to  be  fung  in  churches,  but  every  one  gave  fuch  a 
tune  as  he  thought  fit;  *  Each  of  the  princes  and  courtiers,' fays  this 
author, '  took  a  pfalm  for  himfelf :  Hen.  II.  loved  this,  "  Ainfi  qu'on 
*«  oit  le  cerf  bruire,"  which  he  fung  in  hunting;  Madam  de  Valenti- 

*  nois  took  this,  '«  Du  fond  de  ma  penfee."  The  queen  chofe  the 
«  pfalm  «  Ne  vueilles  pas  6  Sire,"  which  fhe  fung  to  a  merry  tune  j 
«  Anthony  king  of  Navarre  took  this,  "  Revenge  moy,  pren  le  que- 
"  relle,"  and  fung  it  to  the  tune  of  a  dance  of  Poitou.     In  the  mean 

*  time  Marot  fearing  left  he  fliould  be  fent  to  prifon,  fled  to  Geneva, 
'  where  he  continued  his  verfion  as  far  as  fifty  pfalms.     Beza  put 

Kemond  in  Hift.  Ortu,  &c.  H^res.  lib.  viii. 

Vol.  III.  p  p  p  ,  jj^^ 


450  HISTORY    OF   THE    SCIENCE      BooklV^ 

*  the  remaining  hundred  into  verfe;  and  thepfalms  which  herhym- 

*  ed  in  imitation  of  Marot's,  were  received  by  all  men  with  great 
'  applaufe.* 


CHAP.       iir. 

No  fooner  was  this  verfion  of  the  Pfalms  completed,  than  Calvin, 
who  was  then  at  the  head  of  the  church  of  Geneva,  determined 
as  it  were  to  confecrate  it,  and  introduce  the  pradlice  of  finging  pfalms 
amongft  his  people :  for  fome  time  he  ilood  in  doubt  whether  to 
adopt  the  Lutheran  choral  form  of  finging  in  confonance,  or  to  in- 
flitute  a  plain  unifonous  melody  in  which  all  might  join ;  at  length 
he  refolved  on  the  latter,  and  to  this  end  employed  a  mulician, 
named  Guillaume  Franc,  to  fet  them  to  eafy  tunes  of  one  part  only, 
in  which  the  mufical  compofer  fucceeded  fo  well,  that  the  people  be- 
came infatuated  with  the  love  of  pfalm-linging;  at  length,  that  is  to 
fay,  in  the  year  1553,  which  was  about  feven  after  the  verfion  was 
completed,  Calvin,  to  put  the  fini(hing  hand  to  his  defign,  divided  the 
pfalms  into  paufes  or  fmall  portions,  and  appointed  them  to  be  fung  in 
churches,  and  fo  made  them  a  form  of  religious  worfhip;  foon  after 
they  were  bound  up  with  the  Geneva  Catechifm,  and  from  that  time 
the  Catholics,  who  had  been  accuftomed  to  fing  Marot*^s  pfalms  in 
common  with  profane  fongs,  were  forbid  the  ufe  of  them  under  a  fe- 
vere  penalty.  The  Proteftants  however  continued  the  indifcriminate 
ufe  of  them  at  church;  they  confidered  the  finging  of  pfalms  as  an  ex- 
ercife  of  devotion;  in  the  field  it  was  an  incentive  to  courage  and 
manly  fortitude,  for  in  their  frequent  infurredions  againft  their  per- 
fecutors,  a  pfalm  fung  by  four  or  five  thoufand  of  them  anfwered  the- 
end  of  the  mufic  of  trumpets  and  other  warlike  inftruments,  and,  in 
fhort,  was  among  them  the  accuftomed  fignal  to  battle. 

To  this  purpofe  Strada  mentions  feveral  notable  inflances  that  hap--- 
pened  a  few  years  after  the  publication  of  Marot's  verfion  -,  and  firft, 
fpeaking  of  the  popular  tumults  in  the  Low  Countries  about  the  year 
1562,  he  relates  that  *  two  French  Calvinift  preachers  in  the  night, 

*  the  one  at  Valenciennes,  and  the  other  at  Tournay,,  openly  before  a 

*  great  afiTembly  in  the  market-place,  delivered  their  new  gofpel,  and 

*  when  they  had  done  were  followed  through  the  ftreets  by  the  multi- 

«  tude. 


Chsp.  3-       AND    PRACTICE    OF    MUSIC.  451 

titude,  to  the  number  of  an  hundred  at  Valenciennes,  and  fix  hun- 
dred at  Tournay,  finging  David's  Pfalms  in  French  *.  And  in  an- 
other place  he  fays  that  on  the  21  ft  of  Auguft,  1566,  the  heretics 
came  into  the  great  church  at  Antwerp  with  concealed  wea- 
pons, as  if  they  refolved,  after  fomc  light  fkirmifhes  for  a  few- 
days  paft,  to  come  now  to  battle,  and  waiting  till  evenfong  was 
done  they  fhouted  with  an  hideous  cry  Long  live  the  Gheufes-f*;  nay 
they  commanded  the  image  of  theblefled  Virgin  to  repeat  their  ac- 
clamation, which  if  (lie  refufed  to  do,  they  madly  fwore  they 
would  beat  and  kill  her  j  and  though  Johannes  Immerfellius,  praetor 
of  the  town,  with  fome  apparitors,  came  and  commanded  them  to 
keep  the  peace,  yet  he  could  not  help  it,  but  the  people  running 
away  to  get  out  of  the  tumult,  the  heretics  {hut  the  doors  after 
them,  and  as  conquerors  polTefTed  themfelves  of  the  church.  Now 
when  they  faw  all  was  theirs,  hearing  the  clock  ftrike  the  laft  hour 
of  the  day,  and  darknefs  giving  them  confidence,  one  of  them,  left: 
their wickednefs  ftiouldwantformality, began  tofingaGeneva  pfalm, 
and  then,  as  if  the  trumpet  had  founded  a  charge,  the  fpirit  moving 
them  all  together,  they  fell  upon  the  effigies  of  the  mother  of  God, 
and  upon  the  pid:ures  of  Chrift  and  his  faints,  fome  tumbled 
down  and  trod  upon  them,- others  thruft  fwords  into  their  fides,  or 
chopped  oft^  their  heads  with  axes,  with  fo  much  concord  and  fore- 
caft  in  their  facrilege,  that  you  would  have  thought  every  one  had 
had  his  feveral  work  afijgned  him  ;  for  the  very  harlots,  thofe  com- 
mon appurtenances  to  thieves  and  drunkards,  catching  up  the  wax 
candles  from  the  altars,  caft  down  the  facred  plate,  broke  afunder 
the  pidlure  frames,  defaced  the  painted  walls;  part  fetting  up  lad- 
ders, (battered  the  goodly  organs,  broke  the  windows  flouriftied 
with  a  new  kind  of  paint.  Huge  ftatues  of  faints  that  ftood  in  the 
walls  upon  pedeftals,  they  unfaftened  and  hurled  down,  among 
which  an  ancient  great  crucifix,  with  the  two  thieves  hanging  on 
each  hand  of  our  Saviour,  that  ftood-right  againft  the  high  altar, 
they  pulled  down  with  ropes  and  hewed  it  to  pieces,  but  touched  not 
the  two  thieves,  as  if  they  only  worftiipped  them,  and  defired  them 
to  be  their  good  lords.     Nay  they  prefumed  to  break  open  the  con- 

*  De  Bello  Bdgico,  lib.-III 

t  A  name  which  at  a  drunken  bout  they  had  taken  to  diflinguifh  their  fadlon  by. 
Strada,  109. 

P  p  p  2  *  fervatory 


452  HISTORY    OF    THE    SCIENCE      Book  IV. 

*  fervatory  of  the  ecclefiaftical  bread,   and  putting  in  their  polluted 

*  hands,  to  pull  out  the  blelTed  body  of  our  Lord.     Thofe  bafe  ofF- 
«  fcourings  of  men  trod  upon  the  deity,  adored  and  dreaded  by  the 

*  angels.     The  pixes  and   chalices   which   they  found  in  the  veftry 
'  they  filled  with  wine  prepared  for  the  altar,  and  drank  them  off  in. 

*  derifion  :  they  greafed   their  {hoes  with   the  chrifme  or  holy   oil  f 

*  and  after  the  fpoil  of  all  thefe  things,  laughed  and  were  very  merry 
«  at  the  matter  *.' 

Such  were  the  effe(5ts  produced  by  the  introdudion  of  pfalm-fing- 
ing  among  thofe  of  the  reformed  religion  ;  and  no  one  can  be  at  alofs 
for  a  reafon  why  thofe  of  the  Romifli  communion  have  exprefTed 
themfelves  with  the  utmoft  bitternefs  againft  the  practice  of  it.  Bayle 
in  the  article  Marot,  has  given  a  letter  from  a  gentleman  who  had 
ferved  the  queen  of  Navarre,  to  Catherine  de  Medicis,  fubfcribed 
Villemadon,  dated  In  Auguft  1590,  containing  an  account  of  the  re- 
ception  of  the  pfalms  of  Marot  met  with  at  court,  but  abounding 
with  fuch  fevere  and  fcurrilous  invedlives  againft  the  Calviniftical 
pfalmody,  and  thofe  who  were  the  friends  of  it,  that  the  omiffion  of 
it  in  this  place  will,  it  is  hoped,  find  a  ready  excufe. 

From  the  feveral  relations  herein  before  given  it  would  be  difficult 
to  form  any  judgment  either  of  the  merit  of  Marot's  verfion  or  of  its 
author,  but  Bayle  has  fummed  up  his  character,  and,  after  beftowing 
high  commendations  on  his  Pfalms,  ranks  him  among  the  beft  of  thsr 
•French  poets. 

Having  faid  thus  much  of  the  poetry,  It  now  remains  to  fpeak  of 
the  mufic  of  Marot's  pfalms  :  the  common  notion  is  that  they  were: 
originally  fet  by  Lewis  Bourgeois  and  Claude  Goudimel,  v/hich  is. 
only  fo  far  true  as  it  refpecls  the  fetting  of  them  in  parts  j  for  it  ap- 
pears by  an  anecdote  communicated  to  Bayle  by  a  profeflbr  of  Lau- 
fanne,  and  infert^d  in  a  note  on  a  paffige  of  his  life  of  Marot,  that 
before  this  they  were  fung  to  melodies  of  one  part  only  in  the. 
churches  at  Geneva,  and  that  the  compofer  of  thofe  melodies  was 
one  Guillaume  Fraticj  and  to  this  fadl  Beza  himfelf  teftifies  in  a  kind; 
of  certificate,  figned  with  his  own  hand,  dated  2  Nov.  1552.  Bayle's, 
correfpondent  farther  adds,  that  he  had  in  his  poflefiion  a  copy  of 
the  Geneva  pfalms,  printed  in  1564,  with  the  name  GulUaur/ic  Franc 
to  it,  whereto  is  prefixed  the  licence  of  the  magiftrate,  figned  Galla-*^ 

*  De  Bdlo  Belgieo,  lib.  V., 

tin^ 


Chap.  3-       AND    PRACTICE"  OF    MUSIC.  453 

tin,  and  fealed  with  red  wax,  declaring  Guillaume  Franc  to  be  the 
author  of  the  mufical  notes  to  which  the  pfalms  in  that  impreffion 
are  fet. 

It  feems  that  Bourgeois  compofed  mufic  to  only  eighty  three  of 
the  Pfalms,  which  mufic  was  in  four,  five,  and  fix  parts;  thefe 
Pfalms  fo  fet  were  printed  at  Lyons  in  156 1.  As  to  Goudimel,  it  is 
certain  that  he  fet  the  whole  in  four  and  five  parts,  for  the  book  was 
printed  at  Paris  in  1565,  by  Adrian  Le  Roy  and  Robert  Ballard.  Ne- 
verthelefs  there  is  reafon  to  think  that  this  or  fome  other  colledion  of 
Marot's  Pfalms  with  the  mufic,  had  made  its  appeaVance  earlier  than 
1565  }  and  indeed  exprefs  mention  is  made  of  fifty  of  Marot's  pfalms 
with  the  mufic,  printed  at  Strafburg  with  the  liturgy  in  1545  ;  and 
there  is  extant  a  preface  to  Marot's  pfalms  written  by  Calvin  him- 
felf,  and  dated  lo  June,  1543,  wherein  is  the  following  paflage  :  «  All 

♦  the  pfalms  with  their  mufic  were  printed  the  firfl  time  at  Geneva, 

•  with  a  preface  concerning  an  agreement  of  the  printers  thereof, 
«  whereby  they  had  engaged  to  appropriate  a  part  of  the  profits  arifing 

*  -from  that  and  future  impreffions  for  the  relief  of  the  poor  Refugees 

*  at  Geneva  *. 

The  name  Guillaume  Franc  is  hardly  known  among  muficians, 
however,  as  the  original  melodies  have  never  been  afcribed  to  any 
other  author,  credit  may  be  given  to  the  anecdote  above-mentioned 
to  have  been  communicated  to  Bayle  concerning  them.  What  thofe 
original  melodies  were  will  hereafter  be  confidered.  It  is  certain 
that  the  honour  of  firii  compofing  mufic  in  parts  to  the  Geneva  pfalms 
is  due  to  Bourgeois  and  Goudimel  ;  of  the  former  very  little  is  to  be 
learned,  but  the  charader  and  unfortunate  hiftory  of  the  latter  re- 
main on  record. 

Claude  Goudimel,  a  fuppofed  native  of  Franche  Comte,  was 
of  the  reformed  religion;  and  in  the  Hiftoire  Univerfelle  of  Monf. 
D'Aubigne  is  mentioned,  among  other  eminent  perfons,  to  have 
been  murdered  in  the  mafiacre  of  Paris  on  St.  Bartholomew's  day„ 
anno  1572:  the  circumfiances  of  his  death,  as  there  related,  are,, 
that  he,  together  with  Monf.  Perot,  a  civilian,  were  thrown   out 

*  Bayle,  Ma  rot,  in  not.  This  agreement  is  allcded  to  by  the  deacons  of  the  church- 
©f  Geneva,  who  in  a  note  after  the  preface  to  the  Sermons  cf  Calvin  on  Deuteronomy, 
pubhflied  anno  1567,  complain  of  the  breach  of  It,  infifting  that  thofe  who  printed  the 
pfalms  every  day,  could  not  with  a  good  confcience  do  fo  without  paying  to  their  poor 
what  was  promifed  and  agreed  to  be  paid  for  tlieir  ufe  before  they  were  printed  the  fird  time. 

ol 


^54  HISTORY    OF    THE    SCIENCE     Book  IV. 

cf  a  window,  dragged  along  the  ftreets  and  caft  into  the  river;  but  this 
account  is  erroneous  in  rcfpeft  of  the  place  of  his  death  ;  for  Thuanus, 
in  that  part  of  his  hiftory  where  he  takes  occafion  to  mention  the  maf- 
facre  of  Lyons,  has  thefe  words :  *  The  fame  fate  [death]  attended  Clau- 
•*  dius  Goudimel,  an  excellent  mufician  of  our  time,  whofet  the  pfalms 

*  of  David,  tranflated  into  metre  by  Clement  Marot  and  Theodore  Beza, 
■*  to  various  and  mofl:  plcafing  tunes.'  In  the  Proteltant  Martyrology 
mention  is  made  of  Goudimel  in  thefe  words  :   *  Claudius  Goudimel, 

*  an  excellent  mufjcian,  and  whofe  memory  will  live  for  ever  for  having 

*  compofed  tunes  to  the  greater  part  of  David's  pfalms  in  French.' 

With  refpecft  to  Goudimel's  work,  the  mufic  in  four  parts  to  the 
pfalms,  it  was  firft  pubhfhed  in  the  year  and  has  paft  a  multi- 

tude of  editions  ;  one  in  1602,  printed  at  Delft,  without  any  mention 
of  Bourgeois,  is  intitled  *  Les  Pfeaumes  mis  in  rime  Fran9oife.    Par 

*  Clement  Marot  6c  Theodore  de  Beze ;  mis  en  mufique  a  quatre 

*  parties  par  Claude  Goudimel.'  Thefe  pfalms,  for  the  greater  facility 
in  finging  them,  are  of  that  fpecies  of  mufical  compofition  called 
Counterpoint ;  but  before  his  death  Goudimel  had  meditated  a  noble 
work,  viz.  the  pfalms  in  five,  fix,  feven,  and  eight  parts  compofed  in 
the  form  of  motets,  with  all  the  ornaments  of  fugue,  and  other  in- 
ventions common  to  that  kind  of  mufic  ;  he  had  made  a  confiderable 
progrefs  in  it,  and,  had  not  death  prevented  him,  would  quickly  have 
completed  the  work. 

The  pfalms  of  Marot  and  Beza  were  alfo  fet  by  another  very  emi- 
nent mufician,  Claude  le  Jeune,  of  whom  an  account  has  already 
been  given  *.  He  was  a  Protefi:ant,  a  native  of  Valenciennes,  and  a 
favourite  of  Henry  IV.  of  France.  In  the  title-page  of  many  of  his 
works,  publilhed  after  his  death  he  is  fiyled  '  Phenix  des  iPiuficiens  j' 
and  unqueflionably  he  was  in  his  art  one  of  the  greateft'  men  of  that 
day. 

There  are  extant  two  colledions  of  pfalms  with  the  mufic  of 
Claude  1 :  Jeune,  both  which  appear  to  be  pofthumous  publications  ; 
the  one  oi  thefe,  mofi:  beautifully  printed  in  feparate  books,  of  a  fmall 
oblong  form,  at  Paris,  in  161  3,  and  dedicated  by  his  fifter,  Cfecile 
le  Jeune.,  to  the  Duke  de  Bouillon,  contains  the  wiioie  hundred  and 
fifty  pfalms  of  Marot  and  Beza,  with  the  mufic  in  four  and  five  parts 
as  it  is  faid,  but  in  truth  the  fifth  part  is  frequently  nothing  more  than 
*  Book  II.  chap.  iii.  of  this  volume. 

rea- 


Chap.  J.       AND    PRACTICE    OF    MUSIC.  455, 

a  reduplication  of  fome  of  the  others  in  the  odave  above.  A  few  of 
the  pfalms  in  this  colledion  are  plain  counterpoint,  the  reft  are  of  a 
more  artificial  contexture,  but  eafy  enough  for  the  pradice  of  perfons 
moderately  f]<illed  in  finging.  There  is  extant  alfo  another  colledion, 
published  at  Paris  in  1606,  of  a  larger  fize  than  the  former,  entitled 

*  Pfeaumes  en  vers  mezurez,  mis  in  Mufique,  A  2,  3,  4,  5,  6,  7,  &  8 

*  parties,  par  Claude  le  Jeune,  natif  de  Valentienne,  Compofiteur  de 

*  la  mufique  de  la  chambre  du  Roy  j'  thefe  are  certain  feledt  pfalms 
paraphrafed  by  an  unknown  author,  and  as  to  the  mufic,  it  abounds- 
in  all  thofe  ornaments  of  fugues,  points,  and  varied  motion,  which; 
diftinguifti  the  Canto  figurato  from  the  Canto  fermo;  fo  that  thus  fefc 
they  might  not  improperly  be  ftyled  Motets.  This  laft  colledion  of 
pfalms  was  published  by  the  author's  fifter  Cccile  le  Jeune,  and  dedi- 
cated by  her  to  a  friend  and  fellow-fervant  of  her  brother,,  one  of  the 
gentlemen  of  the  chamber  to  Henry  IV. 

She  alfo  published  in  1603,  and  dedicated  to  our  king  James  L  a  book- 
entitled  Le  Printemps,  containing  compofitions  of  her  brother  in 
three,  four,  five,  fix,  feven,  and  eight  parts,  in  theftyle  of  madrigals. 
By  an  advertifement  prefixed  to  the  book  it  feems  that  it  was  part  of 
a  work  which  the  author  had  undertaken,  and  intended  to  adapt  to 
the  four  feafons  of  the  year.  Another  work  of  his  was  alfo  publiflied^ 
by  the  fame  Cecile  le  Jeune  in  1606,  intitled  *  Odonaires  de  la  va- 
«■  nite  et  inconftance  du  monde,'  in  three  and  four  parts, 

*  Thefe  two  muficians,  Goudimel  and  Claude  le  Jeune,  arc  the 
moft  celebrated  compofers  of  mufic  to  the  French  pfalms.  But  here 
it  is  necefi^ary  to  remark,  that  though  the  common  opinion  is  that 
they  each  compofed  the  four  parts,  fuperius,  contratenor,  tenor  and 
bafius  of  every  tune,  yet  the  tenor  part,  which  at  that  time  was  of 
the  moft  confequence,  as  it  carried  in  it  the  air  or  melody  of  the 
whole  compofition,  is  common  both  to  the  tunes  of  Goudimel  and- 
le  Jeune,  and  was  in  fad  compofed  by  another  perfon,  fo  that  nei- 
ther of  them  have  done  any  thing  more  than  given  the  harmony  to  a^ 
certain  melody,  which  melody  is  in  both  authors  one  and  the  fame. 

It  is  very  difficult  to  affign  a  reafon  for  this  condud,  unlefs  we 
fuppofe  that  thefe  melodies,  to  which  the  ftudies  and  labours  of  both 
thefe  eminent  men  were  but  fubfervient,  were  on  the  fcore  of  their 
antiquity  or  excellence,  in  fuch  eftimation  with  the  people,  as  to  fubjcd: 

a  mo*- 


456  HISTORY    OF    THE    SCIENCE     Book  IV. 

a  modern  mufician  that  (liould  reje<ft  them,  to  the  impuution  of  envy 
or  vanity  ;  or,  perhaps  after  all,  and  abftraded  from  every  other  claioi 
to  preference,  the  frequent  ufe  of  them  in  the  French  proteftant  con- 
gregations might  have  occafioned  fuch  prejudices  in  their  favour,  as 
to  render  any  others  adlually  inadmilTible  among  them.  In  either 
cafe  our  curiofity  leads  us  to  enquire  vi^ho  v^^as  the  author  of  thofe 
melodies  which  two  of  the  moft  eminent  muficians  of  France  conde- 
fcended  thus  to  honour.  In  fliort,  recolleding  what  Bayle  has  re- 
lated about  the  original  French  pfalm-tunes  of  one  part,  and  laying 
the  above  circumftances  together,  there  is  little  reafon  to  doubt  but 
that  thofe  original  melodies  which  conftitute  the  tenor  part,  and  are 
therefore  the  ground-work  of  Goudimel  and  Claude  le  Jeune's  pfalm- 
tunes,  were  thofe  very  original  tunes  which  the  above  cited  author 
has  afcribed  to  Guillaume  Franc. 

The  pfalms  thus  fet  by  Goudimel  and  Claude  le  Jeune,  w^re  intro- 
duced into  the  public  fervice  of  the  church,  not  only  at  Geneva,  but 
in  France,  Flanders,  and  moft  other  countries  where  the  Reforma- 
tion had  got  footing,  and  the  fervice  was  in  the  French  language; 
and  continued  to  be  fung  until  the  verfion  became  obfolete :  the 
church  of  Geneva,  the  firft  that  received,  was  the  firft  that  forfook 
it  and  made  ufe  of  another,  begun  by  Monf.  Conrart,  and  iiniflied 
by  Monf.  Baftide  -,  but  the  French  churches,  which  fince  the  revoca- 
tion of  the  edidt  of  Nantes  became  fettled  in  foreign  countries,  con- 
tinued and  ftill  ufe,  the  verfion  of  Marot  and  Beza,  revifed  and  alter- 
ed from  time  to  time  through  a  great  number  of  editions,  fo  as  to 
correfpond  with  thofe  innovations  and  refinements  to  which  the 
French  and  moft  other  living  languages  are  liable. 

Of  the  German  pfalmody  very  little  can  be  faid.  It  is  imagined 
that  the  High  Dutch  verfion  of  the  pfalms  was  made  very  foon  after 
Luther's  time  by  fome  of  the  ableft  of  their  minifters  ;  but  as  the 
language  is  not  very  fit  for  poetry,  whether  it  be  good  or  bad  the 
world  has  {hewn  very  little  curiofity  to  enquire.  There  are  many 
excellent  melodies  fung  in  the  German  proteftant  congregations, 
which  is  no  wonder,  confidering  that  that  country  has  been  famous 
for  fkilful  muficians.  They  have  a  tradition  among  them  that 
fome  of  thefe  melodies  were  compofed  by  Luther  himfelf  j  and  as  it  is 
certain  that  he  was  fkilled  in  mufic,  that  they  were  is  highly  probable. 

CHAP. 


Chap.  4-     AND    PRACTICE    OF    MUSIC.  457 


CHAP,         IV. 


IT  remains  now  to  (hew  what  part  the  church  of  England  a(^ed 
with  refped  to  church  mufic,  and  to  account  for  its  exigence  at 
this  day  :  and  here  it  may  be  obferved,  that  the  great  revolutions  of 
religion  and  government  generally  take  a  tindure  from  the  charader^ 
cf  thofe  under  whofe  authority  or  influence  they  are  brought  about. 
The  affection  of  Leo  X.  to  mufic,  was  propitious  to  the  final  efta- 
blifhment  of  choral  fervice  in  the  Romifh  church  ;  and  that  it  is  yet 
retained  in  this  kingdom,  notwithflanding  the  reformation,  and  the 
many  efforts  of  its  enemies  to  banifh  it,  may  be  afcribed  to  the  like 
difpofition  in  the  four  laft  princes  of  the  Tudor  family.  For  to  in- 
ftance  in  Henry  VI II.  it  is  certain  that  he  was  not  only  a  lover  of 
mufic,  but  profoundly  fkilled  in  it  as  a  fcience  *. 

It  will  appear  farther,  that  all  the  children  of  Henry  were  flcilled 
in  mufic  J  with  refpedl  to  his  fon  Edward,  we  are  told  by  Cardan 
that  he  *  Cheli  pulfabatj'  and  in  Edward's  manufcript  Journal, 
written  with  his  own  hand,  now  in  the  Britifli  Mufeum,  and  which 
is  printed  in  Burnet's  Hiftory  of  the  Reformation,  mention  is  made 
of  his  playing  on  the  lute  to  the  French  embafi^ador-f-. 

As  to  Mary,  her  affedlion  for  the  choral  fervice  might  probably 
arife  from  her  attachment  to  the  RomiQi  religion,  yet  (he  too  was 
fkilled  in  the  pradice  of  mufic,  as  appears  by  a  letter  from  her  mo- 

*  See  the  foregoing  volume,  book  IV.  chap,  x.  In  a  letter  from  Sir  John  Harrington 
to  the  lofd  tieafurer  Burleigh,  mention  is  made  of  certain  old  Monkifli  rhymes  called 

*  The  Blacke  Saun(Slus,  or  Monkes  Hymn  to  Saunte  Satane.'  The  father  of  Sir  John 
Harrington,  who  had  married  a  natural  daughter  of  Henry  VIII.  named  Efther,  and  was 
very  well  fkilled  in  mufic,  having  learned  it,  as  the  letter  fays,  '  in  the  fellowfhip  of  good 

*  Maifler  Tallis,  fet  this  hymn  to  mufic  in  a  canon  of  three  parts  ;  and  the  author  of  the 
letter  fays  that  king  Henry  was  ufed  *  in  plefaunt  moode  to  fing  it.'  Nugse  Antiqusc, 
printed  for  W.  Frederick  at  Bath,  8vo,  1769,  pag.  132. 

t  *  19  July  [i550-     Monf  le  Marefchal  iit.  Andre  fupped  with  me;  after  fupper 

*  faw  a  dozen  courfes,  and  after  I  came  and  made  me  ready.     20.  The  next  morning  he 

*  came  to  me  to  mine  arraying,  and  faw  my  bedchamber,  and  went  a  hunting  with  iiounds, 

*  and  faw  me  fhoot,  and  faw  all  my  guards  flioot  together ;  he  dined  with  me,  heard  me  play 

*  on  the  lute,  ride;  came  to  me  to  my  ftudy,  fupped  with  me,  and  fo  departed  to  Richmond.* 
Colle£lion  of  Records,  &c.  in  the  Appendix  to  Burn.  Hift.  Reform  part  II,  pag.  31.        , 

Vol.  hi.  Q^q  q  ther 


458  HISTORY   OF   THE   SCIENCE     Bookie, 

ther  queen  Catherine   to  her,  wherein  fhe  necommends  to  her  the 
ufe  of  the  virginals  or  lute  if  (he  has  any  *. 
'  The  fkill  in  mufic  which  Elizabeth  pofTefled  is  clearly  evinced  by 
the  following  paffage  in  Melvil's  Menioirs*f*.     «  The  fame  day,  after 

*  dinner,  my  Lord  ofHunfdean  drew  me  up  to  a  quiet  gallery  that  I 

*  might  hear  fome  mufic,  (but  he  faid  he  durft  not  avow  it)  where  I 

*  might  hear  the  queen  play  upon  the  virginals.     After  I  had  heark- 

*  ned  a  while  1  took  by  the  tapiftry  that  hung  before  the  door  of  the 

*  chamber,  and  feeing  her   back  was  towards  the  door,  I  entered 

*  within  the  chamber,  and  ftood  a  pretty  fpace,  hearing  her  play 

*  excellently  well ;  but  fhe  left  off  immediately  fo  foon  as  (lie  turned 

*  her  about  and  faw  me.   She  appeared  to  be  furprized  to  fee  me,  and 

*  came  forward,  feeming  to  (Irike  me  with  her  hand,  alledging  (he 

*  was  not  ufed   to  play  before  men,  but  when  (he  was  folitary  to 

*  f})un  melancholy  J.*  To  this  paffage  it  may  not  be  improper  to 
add  a  little  anecdote,  which  perhaps  has  never  yet  appeared  in  print, 
and  may  ferve  to  fhew  either  that  {he  had,  or  affedied  to  have  it 
thought  (he  had,  a  very  nice  ear.  In  her  time  the  bells  of  the 
church  of  Shoreditch,  a  parifli  in  the  northern  fuburbs  of  Lon- 
don, were  much  efteemed  for  their  melody  j  and  in  her  journies 
from  Hatfield  to  London,  as  foon  as  fhe  approached  the  tewn,  they 
conftantly  rang  by  way  of  congratulation.  Upon  thefe  occafions  (he 
feldom  failed  to  flop  at  a  fmall  diftance  (liort  of  the  church,  and  amidft 
the  prayers  and  acclamations  of  the  people,  would  liften  attentively 
to  and  commend  the  mufic  of  the  bells. 

From  thefe  particulars  it  may  reafonably  be  inferred,  that  the  fe- 
veral  princes  to  whom  they  relate  were  difpofed  to  the  retention  of 
mufic  in  our  folemn  church  fervice.  It  remains  to  {hew  on  the  other 
hand  what  were  the  fentiments  of  thofe  who  headed  the  reformation 
in  England  with  refpedl  to  this  part  of  divine  fervice. 

And  firft  it  appears  that  great  complaints  were  made  by  many  of 
the  dignified  clergy  and  others,  of  the  intricacy  and  difficulty  of  the 
church  mufic  of  thofe  times.  In  confequence  whereof  it  was  once 
propofed  that  organs  and  curious  finging  (hould  be  removed  from  our 
churches  §.     Latimer,  in  his  diocefe  of  Worcefter,  went  fiill  farther, 

*  Burnet  Hift.  Reform,  part.  II.  Appendix  pag   142.         f  Lond.  1752,  pag.  99. 
X  It  is  alfo  faid  that  ftie  played  on  an  inftrument  ftrung  with  wire,  called  the  Poliphantw- 
Preface  to  Play  ford's  Introdudion  to  the  Skill  of  Mufic  k,.  edit.  1666. 
§[  Burn.  Hift.  Reform,  part  III.  pag..  302.  304. 

as 


Chap.4.       AND    PRACTICE    OF    MUSIC,  459 

as  appears  by  certain  Injundllons  of  his  to  the  prior  and  convent  of  St. 
Mary,  whereby  he  forbids  in  their  fervice  all  manner  of  Tinging  *. 

By  a  ftatute  of  27  Hen .  VIII.  cap.  1 5,  power  was  given  to  the  king 
to  Rominate  two  and  thirty  perfons  of  his  clergy  and  laity  to  examine 
all  canons,  conflitutions,  and  ordinances  provincial  and  fynodical,  and 
to  compile  a  body  of  fuch  ecclefiaftical  laws  as  (hould  in  future  be 
obferved  throughout  this  realm.  Nothing  was  done  towards  this  ne- 
celTary  work  during  the  life-time  of  Henry  ;  but  in  the  reign  of  his 
fon  the  confideration  of  it  was  rcfumed,  and  a  commiflion  granted 
for  the  purpofe  to  eight  bifhops,  eight  divines,  eight  civilians,  and 
eight  common  lawyers.  The  deliberations  of  this  aflembly,  compofed 
of  the  ableft  men  in  their  feveral  profeffions  that  the  age  afforded,  ter- 
minated in  a  work,  which  though  printed  and  exhibited  to  publicview, 
is  incomplete,  and  apparently  defed!live  in  refpedt  of  authority,  as  want- 
ing the  royal  fandion.  It  was  publifhed  firft  in  1 571,  by  Fox  the  Mar- 
tyrologift,  and  by  fome  other  perfon,  for  very  obvious  reafons,  in  1640^ 
under  the  title  of  Reformatio  Legum  Ecclefiafticarum.  Dr.  Walter 
Haddon,  a  celebrated  Latin  feholar  of  that  age,  and  Sir  John  Cheke 
were  employed  in  drawing  it  up,  in  the  doing  whereof  they  \cry 
happily  imitated  the  ftyle  and  form  of  the  Roman  civil  law,  as  con- 
tained in  the  Pandeds  and  Inftitates  of  Juftinian;  but  it  feems  the 
giving  the  work  an  elegant  form  was  the  whole  of  their  merit,  for 
virtually  and  in  fubftance  it  was  the  work  of  Cranmer,  who  at  that 
time  was  juftly  eftsemed  the  ablefl:  canonift  in  Englarvd. 

Upon  this  work  it  may  be  obferved  that  if  ever  choral  mufic  might 
be  faid  to  be  in  danger  of  being  baniflied  from  our  churches,  the  era 
of  the  compilation  of  the  Reformatio  Legum  Ecclefiafticarum  was  of 
all  others  the  time  5  and  it  may  well  be  imagined  that  to  thofe  who 
were  interefted  in  the  retention  of  the  folemn  church  fervice,  the 
years  which  werefpent  in  framing  that  work,  were  a  dreadful  inter- 
val ;  however  their  fears  were  eonfiderably  abated  when  it  was  known 
that  the  thirty-two  commifiioners  had  not  reprobated  church  mufic, 
but  had  barely  condemned,  by  the  name  of  figurate  and  operofe  mu- 
fic, that  kind  of  finging  which  was  productive  of  confufion,  and 
rendered  unintelligible  to  the  auditory  thofe  parts  of  the  fervice  which 
required  their  ftridleft  attention  ;  at  the  fame  time  the  rule  prefcribed 
ijy  the  commiflioners  requires  that  certain  parts  of  the  fervice  be  fung^-; 
*  BurntetHift.  Reform,  part  II,  CoUeftion  of  Records,  bookIL  numb.  23. 


460  HISTORY    OF    THE    SCIENCE       Book  IV. 

by  the  minifters  and  clerks  in  a  plain,  diftlndt,  and  audible  manner? 
which  in  effeiH:  was  nothing  more  than  reducing  choral  fervice  to 
that  ftate  of  purity  and  fimplicity  from  which  it  had  deviated  *. 

In  the  book  of  Homilies  we  meet  with  a  paflage,  which,  whether 
intended  to  juRify  or  reprehend  the  ufe  of  mufic  in  divine  worfliip, 
has  been  a  matter  of  controverfy  :  an  objedion  is  put  into  the  mouth 
of  a  woman,  fuppofed  to  be  difcourfing  with  her  neighbour  on  the 
fubjedl  of  the  reformed  church  fervice.  which  fhe  utters  in  the  fol- 
lowing words :  '  ^Ha^,  JJoiTip,  ta^at  IJall  m  noty  tia  at  cljurclj,  fince 
«  all  tf^c  gootsip  figfit^  iKc  tocrc  toont  to  fiafec  arc  gone ;  time  toe  can= 
<  not  f)eat  t^c  likt  piping,  finging,  cfianting,  anb  plaping  upon  tf^c  or= 
'  ganjG?  tl^at  tue  COUiti  before  i'  Upon  which  the  preacher  interpofes, 
faying,  '  -I^iit,  ticadp  iiefotjcij,  tDc  ougfit  grcatlp  to  rejoice  anb  gtbe 
'  «55oti  iijduk^  t^at  out  ff|urc!;c^  are  feelibereti  out  of  all  tfiofe  tijingisr 
*  ItJl^icf)  tifpfeafeu  Cpoti  fo  fore,  anti  fiitgilp  tscfileb  JiJ^^  fiolp  goufe  anti 
^  gti0f  place  of  praper  f/ 

Upon  a  review  of  the  cenfures  on  church-mufic  contained  in  the 
decree  of  the  council  of  Trent,  heretofore  mentioned,  and  in  the  Re- 
formatio Legum  Ecclefiafticarum,  it  will  for  the  moft  part  be  found 
that  they  were  occafioned  rather  by  the  abufes  that  for  a  long  time  had 
attended  it,  than  any  perfuafion  in  the  reformers  of  the  unlawfulnefs 
of  the  pradice.  It  is  true  that  thofe  of  the  Englifli  clergy,  who  in 
the  perfecution  under  queen  Mary  had  fled  to  Francfort,  and  there 
laid  the  foundation  of  nonconformity,  affedled  to  confider  it  as  fuper- 
ftitious  and  idolatrous  -,  but  the  lefs  rigid  of  their  brethren  thought 
it  had  a  tendency  to  edification,  and  was  fufficiently  warranted  by 
fcripture  and  the  pradice  of  the  primitive  church. 

*  '  In  divinis  capitibus  recitandis,  &  Pfalmis  concinendis,  miniftri  &  clerici  diligenter 

*  hoc  cogitare  debent,  non  folum  a  fe  Deum  laudari  oportere,  fed  alios  etiam  hortatu  & 

*  exemplo  &  obfervatlone  illoruni  ad  eundem  cultum  adducendos  eiTe.     Qaapropter  partite 
«  voces  &  diftincle  pronuntient,  &  cantus   fit  illorum  clarus  &  aptus,  ut  ad  auditorum 

*  omnia  fenfum,  &  intelligentiam  proveniant ;  icaque  vibratam  illam,  &  operofam  mufi- 

*  cam,  quic  figurata  dicitur,  auferri  placet,  quoe  fie  in  multitudinis  auribus  tumultuatur, 

*  ut  faspe  linguam  non  poflit  ipfam  loquentem  intelligere.     Turn  auditores  etiam  ipfi  fint 

*  in  opere  fimul  cum  clericis  &  miniftris  cartas  divinorum  officiorum  particuJas  canentes, 

*  in  quibus  Pialmi  primum  erunt,  annumerabitur  fidei  fymbolum,  &.  gloria  in   excelfis, 

*  decern  folemnia  prsecepta,  csteraque  hujufmodi  praecipua  religionis  capita,  quje  maxi- 

*  mum  in  communi  fide  nofl:ra  pondus  habent :  hiis  enim  piis  divini  cultus  exercitationi- 

*  bus  &  invitamentis  populus  feipfum  eriget,  ac  fenfu  quendam  habebit  orandi,  quorum 

*  fi  nullae  nifi  aufcultandi  partes  fint,  ita  friget  &  jacet  mens,  ut  nullam  de  rebus  divinis 

*  vehementem  &  feriam  cogitationem  fufcipere  poflit.'  Reformatio  Legum  Ecclefiaftica- 
rum, tit.  De  Divinis  Officiis,  cap.  5. 

f  Second  part  of  the  Homily  of  the  Place  and  Time  of  Prayer,  pag.  209. . 

The 


Chap.  4.      AND    PRACTICE    OF    MUSIC.  461 

The  rule  laid  down  for  church  mufic  in  England,  almoft  a  thou- 
fand  years  ago,  was  *  Simplicem  fandamque  Melodiam,  fecunduni 
•  morem  Ecclefias,  fedtentur  *;'  with  a  view  to  this  the  thirty-two 
commiffioncrs  laboured  to  prevent  the  corruption  of  a  pradice  that  had 
at  leaft  the  fandtion  of  antiquity  on  its  fide,  and  to  remove  from  the 
church  what  they  as  juftly  as  Emphatically  termed  *  curious  finging.' 

There  is  an  ambiguity  in  the  expreffion  *  curious  fingin.g,'  which^ 
might  lead  a  ftranger  to  the  flate  of  mufic  at  this  period  to  fufpedt 
that  it  meant  fueh  a  nicety,  exadlnefs,  aad  volubility  in  the  perform- 
ance, as  is  at  prefent  required  in  the  mufic  of  the  theatre;   but  this 
feems  not  to  have  been  the  cafe.     Morley,  who  is  fomewhat  free  in- 
his  cenfure  of  the  choir  fingers  of  his  time,  acquits  them  of  any  fuch' 
affeded  nicety  in  their  finging  as  might  lead  men  to  fay  it  was  over 
curious  :  on  the  contrary,  he  reprefents  their  performance  as  flovenly 
to^a  great  degree  f.     In  (hort,  the  true  objedt  of  thofe  many  cenfures 
which  at  different  times  were  pafi^ed  on  choir  fervice,  was  not  curious 
finging,  but  intricate,  elaborate,  and  unedifying  muCic  :\figurata  is- 
the  epithet  by   which  it  is  charaderized  in  the  Reformatio  Legum- 
Ecclefiafticarum ;  now    Cantus  Jiguratus  is  a  term  ufedin  contra- 
diftindlion  to  Cantus  planus  or   Cantus  fir mus^  and  means  that  kind 
©ffong  which  abounds  with  fugues,  refponfive  pafiages,  and  a  com- 
mixture of  various  an^  intricate  proportions,  which,  whether  extem- 
porary or  written,  is  by  muficians  termed  defcant,  and  of  this  kind 
of  mufic  the  following  is  a  fpecimeh  J. 

*  Spelman.  Concll.  vol.  I.  pag.  248.  f  Introd.  to  Praaicall  Mufic,  pag.  179. 

X  Dr.  Brown,  on  the  authority  of  Gaflendi,  afferts  that  fome  time,  he  fays  not  how  long,  ■ 
after  the  invention  of  counterpart  by  Guido,  according  to  the  natural  tendency  of  this  im- 
proyement,  all  the  world  ran  mad  after  an  artificial  variety  of  parts.  Diflertation  on  the 
Union,  &c.  of  Poetry  and  Mufic,  pag.  209.  In  this  he  feems  to  have  made  a  twofold 
miftake,  for  neither  was  Guido  the  inventor  of  counterpoint,  nor  was  it  after  a  va- 
riety of  parts  that  the  world  were  running  mad  ;  it  was  an  affedlion  for  that  curious  and 
intricate  mufic  above  fpoken  of  that  intoxicated  the  muficians,  and  which  firfl  the  council 
ef  Trent,  and  afterwards  the  thirty-tw/o  commiflioners,  as  above  is  related,  endeavoured 
to  reform.  Nor  is  this  author  lefs  unfortunate  in  his  afiertion  that  the  Greeks  that  efcaped 
from  the  takiag  of  Conftantinoplc  brought  a  refined  and  enervate  fpecies  of  mufic  into  Italy 
from  Greece.  Ibid.  Some  ancient  Greek  manufcripts  on  mufic  and  other  fubjerts  were 
all  they  brought,  and  many  of  them  have  fince  been  publifhed  ;  that  enervate  fpecies  of 
mufic  which  he  complains  they  brought  to  Rome,  is  no  where  taken  notice  of  in  hiftory  ; 
if  by  enervate  he  means  elaborate,  it  is  to  be  accounted  for  by  fuppofing,  that  as  the  fcience 
improved^  the  muficians  departed  by  degrees  from  that  fimplicity  which  diftinguifiics  the 
fongs  of  the  Proven9als,  who,  after  all  that  can  be  faid,  were  the  fathers  of  the  modern  ^ 
fecular  mufic^  for  as  to  ecclefiaftical  mufic,  notwithftanding  all  that  he  has  advanced,  it : 
was  under  the  diredion  and  management  of  the  clergy. 

Vol.  III.  R  r  r  Av 


462  HISTORY    OF    THE    SCIENCE       Book  IV. 

A  Lesson  of  Descant  of  thirtie  eighte  Proportions  of 

S.UNDRIE  KINDES,    MADE  BY  MaSTER  GiLES,    MaSTER    OF 

THE  Children  at  Windsor. 


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Chap.  4.      AND    PRACTICE    OF    MUSIC. 


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464 


HISTORY  OF  THE  SCIENCE    BooklV. 


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^— »    La    s»    ^    cP  1 1 


DOCTOR.  NATHANIEL  GILKS. 


Chap.  5.       AND    PRACTICE    OF   MUSIC.  465 

C     H     A     P.  V. 

THE  above  particulars  fufficiently  explain  the  term  Curious  Sing- 
ing, and  (hew  that  the  mufic  of  the  church  was,  at  the  time 
above  fpoken  of,  extremely  elaborate  and  artificial  in  its  contexture. 
It  alfo  appears  that  thofe  who  had  the  diredion  of  choral  fervice  in 
the  feveral  churches  and  chapels  in  this  kingdom,  were  to  a  great  de- 
gree folicitous  about  the  performance  of  it ;  and  to  the  end  that  every 
choir  fliould  be  furnilhed  with  a  competent  number  of  fingers,  more 
efpecially  boys,  v/rits  or  placards  were  ifTued,  empowering  the  offi- 
cers to  whom  they  were  direded,  to  imprefs  the  male  children  of 
poor  perfons  in  order  to  their  being  inftruaed  in  mufic,  and  qualified 
for  choir  fervice.  Tufier,  the  author  of  the  Five  hundred  Points  ef 
good  Hufbandry,  and  who  was  born  in  the  reign  of  Henry  VIII.  re* 
lates  that  being  a  child,  and  having  been  fent  by  his  father  to  a  mufic 
fchool,  as  was  the  pradice  in  thofe  times,  he  was  removed  to  Wal- 
lingford  college,  where  he  remained  till  he  was  feized  by  virtue  of 
one  of  thofe  placards,  which  at  that  time  were  iffued  out  to  fundry 
men,  impowering  them  to  imprefs  boys  for  the  fervice  of  the  feve- 
ral choirs  in  this  kingdorp;  and  that  at  taft  he  had  the  good  fortune 
to  be  fettled  at  St.  Paul's,  where  he  had  Redford,  a  fkilful  mufician, 
for  his  mafter.  The  poor  child  fecms  to  have  had  a  hard  time  of  it, 
as  appears  by  hi$  account  in  thefe  words  : 

Stanza  III. 
gjt  came  to  pajgf  t|&at  fiorne  3;tDa^, 
<0f  linage  gooti  anti  gentle  Wooti, 
$[n  €(tt^  later  in  billage  faitt 

tjat  iHiucnjiall  pgjt: 
mW^  tillage  lilie  £ip  25an&trec  fib^, 
€ftere  fpenti  t^itt  g[  mine  infancp ; 
€5ere  tgcn  mp  name  in  lioneli  fame 

renjaineb  in  (tgfir. 
IV. 
31  pet  IDut  poong,  no  fjreecfi  of  tong, 
il^oe  tearejsr  ttntl^all  tl^at  often  fall 
from  motlier^Ef  eie^  tolien  ejilti  out  crie# 

to  part  Ijer  fro ; 
^  V'ox,  III.  S  s  s  ^oulb 


466  HISTORY    OF    THE    SCIENCE       Book  IV. 

Couib  pittp  mahc  gooU  fatjcr  tiifte, 
$5ut  out  3[  mullr  to  fong  he  tfjriid ; 
dSap  luljat  31  tooulb,  tio  tofiat  gi  coultr, 
Ijijef  miiib  toaisf  fo. 

V. 
(©  3?aincfull  time !  for  ebcrp  ttime 
Wt^at  toofcti  cacc^,  lifee  fiaiteD  Jjcaccief ! 
aiaJjat  fiofificU  \ip^,  tDljat  perhc^gf,  topt  nipi^, 

b)|)at  fjeihf^  toic^  1 
tsijat  xott^  !  Joto  Bare  1  hjjat  coHc&sc  fare ! 
jajjat  Breat»  fjoto  ffaie  I  l©f|at  pcnnp  ale  1 
€gfn  fBaHingfort!  gotu  tocrt  tfiou  abfjor'ti 

of  fiUp  hoic0  I 

VL 
€gcnce  for  mp  ijoice,  31  mul!  {no  cI)oi«) 
^tdap  of  forfc  lifte  ponring  Ijorfe, 
5f or  funtirxe  men  fjab  placarti^  tfjen 

fuel)  cftilti  to  talie  : 
(OTSe  Better  Brc0,  tlie  leiTer  reli  * 
€o  ferue  tfie  queere,  noUj  t^ere  noto  Jere ; 
for  time  fo  fpent  3[  map  repent, 

anb  forroto  mafte* 

VII. 
Si!^nt  marfte  tge  cfiance,  mpfelf  to  tjanee, 
2^p  fricntifjip'^  Jot  to  gaule'^  3]  got ; 

^0  founti  31  fffi^^  ^  «J^tiiin  Q?ac^ 
nill  to  rcmaine 

*  This  expreflion  is  worthy  of  a  critical  obfervation : 
*  The  better  breft  the  lefler  reft.' 

In  finging,  the  found  is  originally  produced  by  the  aiflion  of  the  lungs  ;  which  are  fo 
efTential  an  organ  in  this  refpe6t,  that  to  have  a  good  bread  was  formerly  a  common  peri- 
phrafis  to  denote  a  good  finger.  The  Italians  make  ufe  of  the  terms  Foc^  di  Petto 
and  f^oce  di  Tejia  to  fignify  two  kinds  of  voice,  of  which  the  firfl:  is  the  beft.  In 
Shakefpeare's  comedy  of  Twelfth  Night,  after.the  clown  is  aflced  to  ling,  Sir  Andrew- 
Aguecheek  fays, 

*  By  my  troth  the  fool  lias  an  excellent  breafe' 

And  in  the  llatutes  of  Stoke  college  in  Suffolk,  founded  by  Parker,  archbifbop  of 
Canterbury,  is  a  provifion  in  thefe  words  :  '  of  which  faid  querifters,  after  their  brealts  are 
*  changed  [i.  e.  their  voices  broke]  we  will  the  mofl  apt  of  wit  and  capacity  be  helpen  with 
»  exhibition  of  .forty  {hillings,  &c.'    Strype's  Life,of  Earker,  pag.  ^ 


Ch3p,5-      AND    PRACTICE    OF   MUSIC. 

Witf^  itebforti  *  tgere,  tfte  like  no  hjgcre 
for  cunning  fiicj^  anb  tocrtue  mue{)^ 
2:5p  iygom  fome  pact  of  muficfec  act 
fo  tiit>  31  0axne. 

VIII. 

f  com  ^mW^  31  toenr,  to  (Eaton  feitt 
Co  Icacn  Hceiflfittoairjgf  tgc  latin  pjcaicie?, 
3l3f|ecc  fiftic  tjcce  (frtpe^  giucn  to  mce 

at  onte  3[  fjai^ 
for  fault  but  fmail  or  none  at  all, 
5it  came  to  pajef  tf^nts  Beat  3[  \S)a^  ; 
J>ce  ^ball  f  fee  t|ie  meccie  of  tgec 

to  me  pooce  (ab* 

Such  was  the  general  ftate  of  cathedral  mufic  about  the  middle  of 
the  fifteenth  century  ;  the  reformation  in  religion,  which  took  place 
at  that  period,  produced  great  alterations,  as  welHn  the  difcipline  as 
dodtrine  of  the  Chriilian  church  >  thefe,  fo  far  as  they  refpedt  the 

*  John  Bedford  organift  and  almoner  o£  St.  Paul's.    See  vol.  II.  pag.  526. 

t  This  Udall  was  Nicholas  Udall,  flyled  by  Bayle  *  ElegantifCmus  omnium  bonarum 
•■  literarium  magifter,  et  earum  feliciflimus  interpres  ;'  and  that  mafler  of  Eton  fchool 
whofe  feverity  made  divers  of  his  fcholars  run  away  from  the  fchool  for  fear  of  beating. 
Roger  Afcham  tells  the  ftory  in  the  preface  to  his  Stholemafter }  and  a  fpecimen  of 
Udall's  elegance  both  in  verfe  and  profe  may  be  feen  in  the  appendix  to  Afcham's  works 
in  quarto,  publiflied  by  John  Bennet,   1761. 

The  life  of  this  poor  man  [Tuflerj  was  a  feries  of  misfortune  ;  from  Eton  he  went  to- 
Trinity-hair  in  Cambridge,  butfoon  left  the  univerfity,  and  at  different  times  was  refident 
in  various  parts  of  the  kingdom,  where  he  was  fucceflively  a  mufician,  fchool-mafler, 
ferving-man,  hulbandman,  grazier,  and  poet,  but  never  throve  in  any  of  thefe  feveral  vo- 
cations.    Fuller  relates  that  he  traded  at  large  in  oxen,  Iheep,   dairies,  and  grain  of  all 

•  kinds,  to  no  profit ;  that  whether  he  bought  or  fold  he  loft;  and  that  when  a  renter  he 

*  impoverilhed  himfelf,  and  never  inriched  his  landlord  :'  all  which  feems  to  be  too  true 
by  his  own  fhewing,  and  is  a  proof  of  the  truth  of  that  faying  in  holy  fcripture  that  the 
battle  is  not  to  the  ftrong,  nw  the  race  to  the  fwift. 

As  to  the  Five  hundred  Pomts  of  Hufbandry,  it  is  written  in  familiar  verfe,  and  abounds' 
with  many  curious  particulars  thatbefpeak  the  manners,  the  cuftoms,  and  modes  of  living 
in  this  country  from  the  year  1520,  to  about  half  a  century  after  ;  befides  which  it  difco- 
vers  fuch  a. degree  of  ceconomical  wifdom  in  the  author,  fuch  a  fedulous  attention  to  the* 
honeft  arts  of  thriving,  fuch  a  general  love  of  mankind,  fuch  a  regard  to  juftice,  and  a  re-- 
vcrence  for  religion,  that  we  do  not  only  lament  his  misfortunes,  but  wonder  at  them,  and. 
are  at  a  lols-to  account  for  his  dying  poor*  who  underflood  fo  well  the  method  to  become; 
fich, 

L.U*- 


HISTORY    OF    THE    SCIENCE       Book  IV. 

Lutheran  ritual,  have  been  already  mentioned  j  and  thofe  that  relate  to 
•theCalvinifts  are  purpofely  referred  to  another  place.  It  remains  then 
to  trace  the  rife  and  progrefs  of  that  formulary  whicli  at  prefent  diftin- 
guiihes  the  church  of  England  from  the  other  reformed  churches. 
And  firft  it  is  to  be  noted,  that  until  about  the  year  1530,  the  li- 
turgy, as  well  here  as  in  other  countries  then  in  fubjedion  to  the  fee 
of  Rome,  agreeable  to  the  Roman  ritual,  was  faid-  or  fung  in  Latin. 
In  the  year  1536  the  Creed,  Pater  Nofler,  and  Ten  Commandn:ient3 
-were  by  the  king's  command  put  into  Engliih  ;  and  this,  as  Fuller 
obferves,  was  the  farthefl  pace  which  the  reformation  flepped  in  the 
reign  of  king  Henry  VllI*. 

In  th€  year  1548,  being  the  fecond  of  the  reign  of  Edward  VI.  a 
liturgy  wholly  in  Englifh,  was  compofed  by  Cranmer,  archbiOiop  of 
Canterbury,  and  other  eminent  divines,  confirmed  by  a  ftatute  2  and 
3  of  the  fame  king,  that  impofed  a  penalty  on  fuch  as  {hould  de- 
prave the  fame,  or  negledl  the  ufe  thereof,  and  printed  in  the  year 
1549,  with  the  title  of  the  *  Book  of  the  Common  Prayer,  6cc.'  as 
being  framed  as  well  for  the  ufe  of  the  people  as  the  prieft,  and 
in  which  all  are  required  to  join  in  common.  Againfl  this  liturgy 
fome  objedions  were  taken  by  Calvin,  Beza,  Fagius,  Peter  Martyr, 
Bucer,  and  others,  upon  which  a  ftatute  was  made  in  the  fifth 
and  fixth  years  of  the  fame  king,  enabling  that  it  (hould  be  faith- 
fully and  godly  perufed,  explained,  and  made  perfed:.  This  was 
accordingly  done,  and,  with  fome  variations,  the  liturgy  was  publifli- 
ed  in  15^2, 

In  the  firfl:  year  of  the  reign  of  queen  Elizabeth  it  underwent  a  fe- 
cond, and  in  the  firft  of  James  a  third  revifal ;  but  the  latter  of  thefe 
produced  only  a  fmall  alteration  in  the  rubric,  fo  that  we  may  date 
the  final  fettlement  of  the  Englifti  hturgy  from  the  year  1559,  when 
it  was  printed  by  Grafton,  with  this  title,  *  The  Booke  of  Common 

*  Prayer  and  Adminiftration  of  the  Sacraments,  and  other  Rites  and 

*  Ceremonies  of  the  Church  of  England.* 

But  notwithftanding  thefe  feveral  alterations  and  amendments  of 
the  ritual,  it  will  be  found  that  the  folemn  fervice  of  our  church  is 
nearly  coeval  with  the  liturgy  itfelf ;  for  the  rubric,  as  it  ftands  in 
the  firft  common  prayer  of  Edward  VI.  prefcribes  in  terms  the  fay- 

*  Church  Hift.  in  Britaine,  book  VII,  pag.  386. 


Chap.  5-       AND    PRACTICE    OF    MUSIC.  469 

ing  ox  Jingmg  of  mattens  and  evcnfong  ;  and  in  the  miniftratlon  of 
the  communion  that  the  clerks  {h2\\fing  in  Engliih  for  the  office  or 
Introite,  as  it  is  called,  a  pfalm  appointed  for  that  day.     And  again 
it  direds  that  the  clerks  fliall  fing  one  or  many  of  the  fentences  there- 
in mentioned,  according  to  the  length  and  Ihortnefs  of  the  time  that 
the  people  be  offering.     Again,  the  rubric  to  the  fame  firft  common 
prayer  of  Edward  VI.  direds  that  on  Wednefdays  and  Fridays  the 
Englidi  litany  fhall  be  faid  or  fun g  in  all  places  after  fuch  form  as  is 
appointed  by  the  king's  majefty's  injundions.     Thefe,  together  with 
the  feveral  diredions  contained  in  the  rubric  above-cited,  for  finging 
the  pofl:  communions,  Gloria  in  excellis,  and  other  parts  of  the  fer- 
vice,  fufficicntly  prove  that,  notwithftanding  the  objedions  againfl 
choral  mufic,  and  the  pradice  of  fome  of  the  reformed  churches,  the 
compilers  of  the  liturgy,  and  indeed  the  king  himfelf,  as  may  be  ga- 
thered from  his  injundions,  looked  upon  the  folemn  mufical  fcrvice 
as  tending  to  edification,   and  were  therefore  determined  to  retain  it. 
And  this  opinion  feems  to  be  adopted  by  the  ftatute  of  2  and  3  Edw.VI. 
cap.  I .  which  though  it  contains  no  formal  obligation  on  the  clergy  or 
others  to  ufe  or  join  in  either  vocal  or  inftrumental  mufic  in  the  com- 
mon prayer,  yet  does  it  clearly  recognize  the  pradice  of  finging,  and 
that  in  fuch  terms,  as  cannot  but  preclude  all  queftion  about  the  law- 
fulnefs  of  it  with  thofe  who  admit  the  authority  of  parliament  to  de- 
termine the  form  and  order  of  public  worfhip,  for  the  flatute  enads  ' 
that  *  if  any  manner  of  parfon,  vicar,  or  other  whatfoever  minifler 

*  that  ought  to  fing  or  fhould  fmg  or  fay  Common  Prayer,  according 

*  to  the  form  then  lately  appointed,  or  fhall  refufe  to  ufe  the  fame,  or 

*  fhall  ufe  any  other  form,  he  (1)^11  forfeit,  &c.* 

And  fedicnVII.  of  thefame  flatute  isaprovifo  that pfalms  or  prayer 
taken  out  of  the  Bible  may  be  ufed  in  due  time,  not  letting  or  omit- 
ting thereby  the  fervice  or  any  part  thereof*. 

The  fubfequent  abolition  of  the  mafs,  and  the  introdudion  of  a 
new  liturgy  into  the  church,  calculated  to  be  either  fung  or  faid  in 
churches,  as  it  implied  no  lefs  than  a  total  repudiation  of  the  ancient 

*  With  refpecb  to  the  manner  of  performing  the  folemn  choral  fervice  at  the  beginning 
of  the  reign  of  Edward  VI.  we  meet  with  tiie  following  note:   '  On  the  eighteenth  day  of 

*  the  moneth  of  September,  15^7,  the  letany  was  ftuig  in  the  Englifli  tongue  in  St.  Paul's 

*  church  between  the  quire  and  the  high  altar,  the  fingers  kneeling,  half  on  the  one  fide 

*  and  half  on  the  other.     And  the  fame  day  the  epiftle  and  gofpel  was  alfo  red  at  the  high 
«  mafs  in  the  Englifti  tongue.'     Heylin's  Hiftory  of  the  Reformation,  pag.  42. 

Vol.  Ill,  '     T  t  t  mufical 


470  HISTORY   OF   THE    SCIENCE    BooklF. 

mufical  fervlce,  made  it  neceflary  for  thofe  who  were  concerned  to 
maintain  the  dignity  and  fplendor  of  divine  worship  to  think  of  fram- 
ing a  new  one.  Many  \ery  excellent  muficians  were  living  about 
that  time,  but  few  of  them  had  embraced  the  new  religion,  as  it  was 
called,  and  thofe  of  the  old  could  not  be  expedled  immediately  to  affift 
in  it.  Dr.Tye,  the  king's  preceptor  in  mufic,  was  a  proteftant,  but. 
he  had  undertaken,  in  emulation  of  Sternhold,  to  tranflate  the  Ad:s 
of  the  Apoftles  into  EngliQi  metre,  and  farther  fet  them  to  mufic  of 
four  parts ;  notwithftanding  all  which,  in  lefs  than  two  years  after 
compiling  of  king  Edward's  liturgy,  a  formule  was  compofed,  fo  per- 
fe<fl  in  its  kind,  that,  with  fcarce  any  variation,  it  continues  to  be  the 
rule  for  choral  fervice  even  at  this  day. 

The  author  of  this  valuable  work  was  that  John  Marbeck  or  Mer- 
becke,  of  whofe  pcrfecution,  grounded  on  a  fufpicion  of  herefy,  an 
ample  account  has  herein  before  been  given.  This  book  was  printed 
by  Richard  Grafton  in  1550,  and  has  this  fliort  title; 

€8e  ^oolftc  of  Common  pmitt  notcti. 

At  the  bottom  of  the  lafl  leaf  is  the  name  ^[ofjn  O^erl&crftC,  by 
which  we  are  to  underftand  that  he  was  the  author  or  compofer  of  the 
mufical  notes  :  thefe,  fo  far  as  the  liturgy  of  Edward  VI.  and  that  of 
Elizabeth  may  be  faid  to  correfpond,  are  very  little  different  from 
thofe  in  ufe  at  this  day,  fo  that  this  book  may  truly  be  confidered  as 
the  foundation  of  the  folemn  mufical  fervice  of  the  church  of  England. 

A  particular  account  of  this  curious  work  is  here  intended  to  be 
given,  but  firft  it  is  necelTary  to  obferve  that  it  is  formed  on  the 
model  of  the  Romifh  ritual  j  as  firft,  it  contains  a  general  recitatory 
intonation  for  the  Lord  s  Prayer,  the  Apoftles  Creed,  and  fuch  other 
parts  of  the  fervice  as  are  moft  proper  to  be  red,  in  a  certain  key  or 
pitch.  To  the  Verficles,  Refponfes,  Introits,  Kyries,  Gloria  in  ex>- 
celfis,  Offertories,  Prefaces,  Sandus,  and  Pod-communions,  melodies- 
are  adapted,  of  a  grave  and  decent  form,  and  nearly  as  much  restrained 
as  thofe  of  St.  Ambrofe  or  Gregory  ;  and  thefe  have  an  harmonical 
relation  to  the  reft  of  the  fervice,  the  dominant  of  each  being  in  uni- 
fan  with  the  note  of  the  key  in  which  the  whole  was  to  be  fung. 

After  a  fhort  explanation  of  the  mufical  charaders  that  occur  in  the 
book,    follows   the  order  of  Mattins,    beginning  with  the   Lord's 

Prayer 


Chap.  5/      AND    PRACTICE    OF    MUSIC.  47T 

Prayer  *,  which,  as  it  is  not  required  by  the  rubric  to  be  fung,  is  fer 
to  notes  that  befpeak  nothing  more  than  a  fucceffion  of  founds  of  the 
fame  name  and  place  in  the  fcale,  viz,  C  sol  fa  ut,  that  being, 
about  the  mean  tone  of  a  tenor  voice.  Thefe  notes  are  of  various 
lengths,  adapted  to  exprefs  the  quantity  of  the  fyllables,  which  they 
do  with  great  exadtnefs. 

For  the  reafons  of  this  uniform  kind  of  intonation  it  is  neceffary  to 
recur  to  the  pradlice  of  the  church  at  the  time  when  choral  or  anti- 
phonal  finging  was  firft  introduced  into  it,  when  it  will  be  found  that 
almoft  the  whole  of  the  liturgy  was  fung  ;  which  being  granted,  the 
regularity  of  the  fervice  req^uired  that  fuch  parts  of  it  as  were  the 
moft  proper  for  mufic,  as  namely,  the  Te  Deum  and  other  hymns^ 
and  alfo  the  evangelical  fongs,  fliould  be  fung  in  one  and  the  fame 
key  ;  it  was  therefore  necefTary'  that  this  key,  which  was  to  pervade' 
and  govern  the  whole  fervice,  fhould  be  fixed  and  afcertained,  other- 
wife  the  clerks  or  fingers  might  carry  the  melody  beyond  the  reach  of 
their  voices.  As  the  ufe  of  organs  or  other  inftruments  in  churches 
was  not  known  in  thofe  early  times,  this  could  no  otherwife  be  done 
than  by  giving  to  the  prayers,  the  creeds,  and  other  parts  of  the  fer- 
vice not  fo  proper  to  be  fung  as  red,  fome  general  kind  of  intonation,, 
by  means  whereof  the  dominant  would  be  fo  impreffed  on  the  ears 
and  in  the  memories  of  thofe  that  fung,  as  to  prevent  any  deviation 
from  the  fundamental  key  j  and  accordingly  it  may  be  obfcrvedithat 
in  his  book  of  the  Common  Praier  noted,  Marbeck  has  given  to  the 
Lord's  Prayer  an  uniform  intonation  -f  in  the  key  of  C,  faving  a  fmall 
inflexion  of  the  final  claufe,  which  here  and  elfewhere  he  makes  ufe- 
of  to  keep  the  feveral  parts  of  the  fervice  diftindt,  and  prevent  their 
running  into  each  other.  But  this  will  be  better  underftood  by  a  pe- 
rufal  of  the  compofition  itfelf,  which  is  as  follows  : 

*  It  is  to  be  remarked  that  the  fentenccs  from  fcripture,  one  or  more  whereof  the  mi-- 
nifter  at  his  difcretion  is  dire£led  to  recite  ;  the  exhortation,  general  confeflion,  and  abfo- 
lution,  with  which  the  order  of  Common  Prayer  now  begins,  were  no  part  of  king  Ed- 
ward's liturgy,  but  were  firft  inferted  in  that  of  queen  Elizabeth. 

f  It  is  true  that  that  uniform  kind  of  intonation  above  defcrlbed,  efpecially  In  the  pre- 
catory parts  of  divine  fervice,  is  liable  to  exception,  as  being  void  of  that  energy  which 
fome  think  proper  in  the  utterance  of  prayer;  yet  when-it  is  confidered  that  the  inflexions 
of  the  human  voice  are  fo  various  with  refpecl  tO'tone  and  cadence,  that  no  two  perfons 
can  in  ftricilnefs  be  faid  to  read  alike*,  and  that  fcarce  any  thing  is  more  offenfive  to  a  nice 
and  difcerning  ear  than  falfe  emphafis  or  an  effeQed  pathos,  it  may  well  be  queftioned 
■whether  a  grave  and  decent  monotony  is  not  upon  the  whole  the  beft  form  of  utterance,  at 
leafl  in  public  worlhip,.as  well  for  the  other  parts. of  the  fervice  required  to  bejed,.as  the 
prayers. 


47' 


HISTORY    OF    THE    SCIENCE     Book  IV, 


-^ 1^-*- 


lire      fatljcc    M)id)   arte    in  ftcabcn  i^anoUJcts,  ^c. 


-Ifi- 


JF>rid 

t 

4^ 

Sorbc 

open 

tidoii 

mj) 

Jippe^ 

■ 

■ 

^T\ 

■m — m — » 


-w — »|- 


SCiinto.        3{iib    mp    raout?)     fjial     (Jieta    fowl)   tijp    ptaifc 

ffl> 


^ 


* 


B 


"^ >^j i^ 


3^ncnr» 

43oti 

make 

fjjctje 

to       faue      me. 

F        Ito            W             rrf 

ivf 

HSJ 

^             M 

k        W            «             ® 

K 

R        ^  : 

■  1                                                         II 

^dunflc 

(0      Sortie      mal^e 

gart 

to 

ficipe      me. 

P       M      A      M 

»— ^h- 

-IK  a  - ) 

*- 

tt     laf       ttf 

b       >i?,  f      H 

■     «    ■    fl 

1 

^riea. 

(23Iorp    he     to    tl^e 

fatlfjec    J 

untu 

to    tlje    fonne 

■ 

M        ^    -  lal-     iri  A       tnl 

i^ 

A 

^nl             taf            A 

B 

(S;         ^     ■  PH"  ■  p^^        jB 

▼ 

f - 

—   H         01-      ^ 

anD    to     t§e   l^olp    g||oft. 

3il^ 

it 

tua^    in      tjie 

n 

_A.        Ml    tMl           ^          k 

1 )g— 

_^-^ 

.  1s^ 

^              M 

n 

-^      |B|  H        ^       » 

"SSi 

R        ° 

\ 

liegmnpng     i^    notu     anti 

cuec 

ff.al      Jie,      tuorlti 

m 

-K*        M          M         .  kv    1"^ 

M, 

1^ 

a            * 

m 

^^       ^         IS"        P 

^ 

w 

r 

^    3      tef    B 

...  - 

I 

PI 

toptgoiu    entJ    5£men.  ^rapfe     pe     tfie     iortie. 


Chap.  5-        AND    PRACTICE    OF    MUSIC.  473 

The  manner  of  intonating  the  pfalms  is  dire<f{:ed  to  be  the  fame  as 
of  the  hymn  Venite  exultemus,   the  notes  whereof  are  as  follow  : 


^ 


■^ 3^ 


^b»-hb:     f\  — rs-w 


Crime,    kit    i!«?     fyixQ    unto    tljc    Jortic,     Ictt 


vj      Jcnfp     rciopcc      in     rjc      frrtnjtJi      cf     ourc 


^ 


/">. 


;       3Snt!  fo  fort!)  tupt^  tlje  rcfi  of  tl}c  ^fahm^, 
a^  tljep  &c  appcintcti. 

faUiacion,  f  c. 

Next  follows  the  Te  Deum,  which  being  a  hymn  of  praife,  de- 
viates more  from  that  tone  of  audible  reading  direded  by  the  rubric 
than  the  preceding  parts  of  the  mattin-fervice.  The  Benedidlus, 
which  is  diredted  to  follow  the  fecond  lefTon,  is  noted  in  a  different 
manner;  in  fliort,  it  is  fet  to  a  chanting  tune,  which  is  iterated  as 
the  feveral  verfes  return.  The  fame  hymn,  Benediclus,  is  fet  to 
other  notes,  but  ftiil  in  the  form  of  a  chant,  and  either  of  thefe,  at 
the  eledion  of  the  prieft,  are  allowed  to  be  fung. 

Then  fllov/  the  Kyrie  and  Chrifte  Eleyfon,  and  after  them  the 
Apoftles*  Creed  and  Lord's  Prayer,  both  of  which  are  intonated  in  C 
FA  UT  }  but  in  the  intonation  of  the  latter  this  particular  is  remark- 

*  The  prsdiice  of  chanting  the  Pfalms,  which  doubt'efs  is  meant  to  imitate  the  ancient 
antiphoml  finginji;  inftituted  by  Flavianus  and  Diodorus,  is  fuppofed  to  have  had  its  rife 
at  this  time.  In  the  EngHfli  Pfalter,  to  facilitate  the  pradlice  of  chanting,  the  text  is  con- 
.ftantly  pointed  in  a  manner  no  way  reconcileable  with  the  rules  of  Orthography,  that  is  to 
fay,  \v'..h  a  colon  as  near  the  middle  of  the  verfe  as  poffible,  without  the  leaft  regard  had 
tothc  ienfeof  it,  as  here,  *  J  am  wellplcafed:  that  the  Lcid  h..;.)  heard  the  voice  of  my. 
'  prayer.'  '  O  how  amiable  are  thy  dwellings :  thou  Lord  of  hoiks!'  *  Behold  now^ 
*  praife  ■■'.'='  Lor^i  :  all  the  fervants  of  the  Lord.' 

The  rialter  referred  f)  by  the  common  prayer  to  be  red  in  the  daily  fervice,  is  taken  from 
the  gre?t  Bible  tranflated  by  Miles  Coverdale  and  others  ;  and  in  the  title  page  thereof 
the  pfata^s  are  fviid  to  be  pointed  as  they  are  to  be  fung  or  faid  in  churches  In  the  great 
Bible  the  rnethod  of  pundluation  is  that  which  the  fenfe  requires,  but  in  the  Pfalter  from 
queen  Fli-...ibeth's  time  downwards,  the  pfalms  are  pointed  in  the  manner  above  defcribed^. 
For  the  rule  of  chanting  before  each  verfe  of  the  pfalm  was  thus  divided,  we  are  to  feek. 


Vol.  III.. 


Uuu. 


able,, 


474 


HISTORY    OF   THE   SCIENCE     Book  IV. 


able;  it  is  diredted  to  be  fung  by  the  choir  with  the  pried  to  the  claufe, 
«  And  lead  us  not  into  temptation,'  v/hich  the  pried  fmgs  alone,  and 
is  anfvv^ered  by  the  choir  in  the  laft  clauie.  The  verficles*,  refponfes, 
and  collects  follow  immediately  after;   the  whole  is  thus  intonated. 


■&■ 


^ 


^xicti. 


^nti        Uahc       u0 


mt 


iiita 


tcmBmcicn 


TfV 


^iniflD. 


'iBiit       hdiiitt 


110 


ciiih 


211  mnt. 


5Dnc0.            OD    bitsc    t^t\n   tijp   mercp   upon  i\g,      ^dunfto. 

"  r    -^          M        ^      1^     M  ^    '^^..                       ^       ^ 

-    ^      M            M          M       m      m"m»  ^  j 

m  ■ 

*^ 

2£nti    graunt    w^   tljp   faluacion* 

^i'Utt        <0 

lorbe 

/-N 

p    br 

M              i^     A   I9  1^ 

--^1 

^  n     K    ^-1 

w         V    V  K  w 

1         m 

faiic    tljc    fepng.            2!luitr4ja. 

^nb    mcrcifuUp 

ficare 

/-N 

,      P     M            M             M           U          A                    " 

.  .  ISif 

'  \^  m       m       m      pi,  ^'  ^     ^ 

M  PH 

« 

us?    tDficn    tuc    call    upon    tljcc- 

^tictt     "j^nhiic 

tsf 

f~\ 

1"      /t^      A        M                M                b 

M 

-m — 

a,-f  ^  -m      m      n  A  A  ^ 

B 

1  't  f 

minififriss    mtl)    tigljtcournc^, 

3ilunfb3.      ^nti 

nialtc 

r7\ 


* 


tfip    c^oCcn    people    jopfulf.        ^^licfl       <D    loctic     faiic 


*  The  verficles*  O  Lord  open  thou  my  lips,  &c.  and  the  refponfes  are  by  the  old  church 
muficians  improperly  termed  Preces;  and  the  verficles  '  The  Lord  be  with  you,  &c.' with 
their  anfwers,  preceding  the  litany,  Refponfes,  Vide  The  firft  Book  of  feledled  Church- 
Mafic  publiflied  by  John  Barnard,  Lond.  1641,  fol.  83.  91. 


Chap.  5-      AND    PRACTICE    OF    MUSIC.  475 


>■         M         to    ^^ 

M 

-W — 

-m — 

''  *  n  ffl 

M 

1  isj 

3ilunfto. 

^nb 

WclTc 

tfipnc 

ingccitauncc 

■; m jB^         PH       W^ 


/TV 


^ricl!        (Si^cue   peace  in  ouc  tpmc  0^  lorti ;      511unftd.     25c= 


■  Cm      b      )g    ^    »  ♦    m — f— # — w    i!t    B  - 

taiifc     tficrc     j^    none    dtfjcc   tl^at   figtjtctft    for    u.s?    hut 


♦-4 — 1B( — ^i — w « — ^ » * 


w^ 


oiiflp    tKjou    <©   ■&ait.        ^vktt     «©    ©oti    inahe    ckanc 

E  M      M      w  M    '/;  M     W     » 


if 


our     gcrtci?     iuitljin     usr,        ^unfiu.      ^nb    tafec    not 

'  —                                              -■■•-II  I 

E ^ ^4 — ^-4 r- B )B( M — 


"^  w    ^ 


tjpnc    golp    fpicit    from     n0.        ^tictt,    €()e    lorti    fie 
— 


\—^ M — ^1 ^ ^-^ 


iDirfi    poll,        :H!nnCto»      ;3nb    tDptl^    tfjp    fpjcit*      ^tictl 
i^.ftcttftcConcct 


E    M      |a( ^- — for  tfic  bap  tljffc-lj^  -W — i« W- 


t^atfoUotU: 
aici    iij^    prap  <^otx    tufjiclj    arte 


-5— i8H-4 — ♦ »- W -)Bl        W     W-fr 


auctl[>or    of     peace    anb    loucr    of    concorbc    in    fuioto^ 


476  PII  STORY    OF    THE    SCIENCE       Book  iV. 

!ct55c  ct  tDljcm  tlnntfcrfj  our  eternal  life,  tu^cfe  fcruicc  vJ  pa'= 
fccte  fretioin :  tDcfcntJ  usf  tl;p  Ijumble  tcfuaur.tc.cJ  in  nW  axCaiiVic^ 
of  cue  enemies,  tljat  luc  fucdp  tniHiug  in  tFjp  tsefenre,  ma»c 
itot  fcarc   tljc   potjcc  of    aiip   atJiicrfarie^  :     CCjrcuof)  tf)e  uugOt 


'T> 


|-«-  a js^ — » m la 


.of    5icfu    C&i'ift    oiirc    Hlor^c.  5iliinr!:t3.        ^aiicn 


-£-M— M M  M-Hsl— M-# — ^— M-^     ^v^     - 

SortJC    cure     geauenlpc     fatfjec     nlniig^tie, 

aiiti  euerlpupng  45ob,  tDfticlj  p^  Cafclp  hvonu^t  usf  to  tijc  l^cgpnnpnj 
cf  tfjUiSf  tape :  ticfcnU  u^  in  tljc  fame  tDptij  tf)p  mpgiitrc  potEJcr,  anD 
grannt  tljat  tl|t^  tiaiJ  lue  fail  into  no  fpnnc,  ncit^tt  rdnnc  into  anp 
hintie  of  tiaunger,  hut  tijat  ail  cure  tiopng:^  ma^  ht  crt3rcl3  Dp  tJjp 
0ouernaunec,    to  to  altDapejef  tldat  i^   rigljteou^  in  tl)^  figfit : 


<^ 


i laf- 


Cjjroug?)    Sicfujsr    CJriff    our    Hlcrte.        ^unfitt*   5imen» 

And  thus  faith  the  book  endeth  Mattyns. 

CHAP.  VI. 

>  I  '*HE  Even-fong,  as  it  ftood  in  the  firft  liturgy  of  Edward  VI. 
X  is  noted  in  like  manner.  The  verficles  and  refponfes,  which 
are  here  called  fufTrages,  correfpond  very  nearly  with  the  form  of 
Ringing  them  at  this  day. 

The  hymn  Benedicite,  and  the  Athanafian  Creed,  which  are  occa- 
sionally iling  in  the  morning  fervice,  appear  alio  in  this  wo  i<  of  Mar- 
beck  with  mufic  of  his  ccmpofi.ng. 

In  the  communion  fervice  occurs,  firfl:  the  Introite,  which  is  thus 
intonated  ; 


Chap.  6.     AND    PRACTICE    OF    MUSIC. 


477 


%})t  3Iutroite. 

^t  tljc  Communion, 


-^hS ^ ^ 


-^- 


ScfTcti     i^      tgat      mnn      tOat       fjatfj       not 


>-l— K-^f n U: 


^ — ^' 


ff— * 


lunlhcti       in       tfjc       counfailc        of       tl;c       iingotilpc: 


HH- 


^ahHsh 


-^- 


nor       Hrantic      in       tlje        Vuapc       of       fpnncr>^,       anti 


-M- 


-M f 


-M- 


fiatfi        not        fpt 


in 


tf)C        fcarc 


of 


tftc 


^ 


^. 


-W^ 


{  

fconiffull;  $2^ut        Jijsf        ^dig§t        i^,        ^c. 

Then  the  Kyrle,  intonated  in  the  key  of  F  fa  ut. 


M 


Oi 


^ 


E 


i± 


<2l);tc    l&auc    mf;ci5    uom    n^,   iij.     CftriH 


17,        '      n    .\ 


M- 


rT\ 


M—JflK 


ijant   liicrqi    ur>on  u:^»ii).  Sc^i'ti     !ja:iC    ir,c-.f;i     upc:i    u.c^. 

The  Gloria  in  excelfis  and  Creed  are  compofed  a-;  melodies,  as  arc 
alfo  the  Citertories  to    the    r.un:ib;r  of  fifteen  :    The  common  and 

proper 


478  HISTORY    OF    THE    SCIENCE       Book  IV. 

proper  prefaces  for  Chriilmas,  Eafter,  and  Afcenfion  days,  and  for 
Whit-Sunday  and  Trinity  Sundays,  follow  next  in  order,  and  after 
them  the  Sandus  *. 


a 


l^olp 


Sortie 


W^ 


.^tn 


(Botx       of       iJolJc^*       ]^cauen       anti       cartfj       arc 


/^N 


/7\ 


■n 


Ml     of     tjp      slorp*        <0fanita     in     tge      jjijftcnr. 


I 


»* 


-?i-ih-^- 


I 


HlelTcb        i^       ][)e       rgat      commctf)      in 


^± 


tfie    name    of     tge     EortJC :       ^lorp     to     if|e     (0 


/T> 


^ 


2lort«        in        tge       {jigged,* 


*  The  Sanctus  is  part  of  the  communion  office  ;  neverthelefs  in  CathedraIs,,on  Sundays 
and  high  feftivals  it  is  conilantly  fung  at  the  end  of  morning  prayer,  and  before  that  part 
of  the  fervice  which  is  red  by  the  Epiileller  and  Gofpeller  while  they  are  making  their  ap- 
proach to  the  communion  table. 


The: 


Chap.  6.       AND    PRACTICE    OF    MUSIC.  ^79 

The  prayer  for  the  whole  ftate  of  Chriftes  church,  which  has 
fince  been  altered  into  a  prayer  for  the  whole  ftate  of  Chrift's  church 
militant  here  on  earth,  with  the  laft  claufe,  is  intonated  in  A  re,  a 
fifth  above  D  sol  re,  the  final  note  of  the  Sandus.  Then  follows 
a  prayer  for  the  bleffing  of  the  holy  fpirit  on  the  elements,  with  the 
intonation  of  the  laft  claufe,  verficles,  and  refponfes,  the  Lord's 
prayer,  Agnus  Dei,  Pofl-communions,  and  a  thankfgiving  j  which 
feveral  parts  of  the  fervice  are  either  wholly  omitted,  or  greatly  al- 
tered in  the  liturgy  of  Elizabeth.  Thefe  are  chiefly  noted  as  melo- 
dies. Marbeck's  book  contains  alfo  an  office  at  the  burial  of  the  dead, 
which  differs  greatly  from  that  now  in  ufe  *. 

The  objedions  of  particular  perfons,  and  the  cenfure  of  the  thir- 
ty-two commiflioners  in  the  Reformatio  Legum  Ecclefiafticarum 
againft  curious  finging  had  made  it  neccfTary  that  the  new  fervice 
fhould  be  plain  and  edifying.  In  order  that  it  fliould  be  fo,  this  of 
Marbeck  was  framed  according  to  the  model  of  the  Greek  and  Latin 
churches,  and  agreeable  to  that  tonal  melody,  which  the  ancient  fa- 
thers of  the  church  have  celebrated  as  completely  adequate  to  all  the 
ends  of  prayer,  praife,  thankfgiving,  and  every  other  mode  of  reli- 
gious worfliip. 

The  interval  between  the  framing  the  firft  liturgy  of  Edward  VI. 
and  the  fetting  it  to  mufical  notes,  was  but  a  year  at  moil:.  It 
appears  that  at  this  time,  befides  an  eftablifhment  of  houfhold 
muficians,  confiding  of  fjngers  and  players  on  fundry  different  inftru- 
ments,  there  was  alfo  one  of  gentlemen  and  children  of  the  royal 
chapel,  which  had  fubfifled  in  fucceflion  from  the  time  of  Edward 
IV.  The  following  is  a  lift  of  both,  with  the  falaries  or  flipends 
of  the  feveral  officers  as  it  flood  in  the  reign  of  Edward  VI. 

MusiTioNs  and  Players. 
Trumpeters. 
Serjeante.  Benedidi  Browne     - 

fin  No.  16,  euery  of  them" 
Trumpeters.!      hauing    by    the 

»■     24I.  6s.  8d.     - 

-.         ^  JPhilip  Van  Welder 

(Peter  V^n  Welder 

*  Vid€  extrad  from  the  Liber  Niger  Domus  Regis  in  vol.  II.  page  290,  et  feq. 

Harpers, 


I.     s.     d. 

- 

Fee     24     6     8 

leml 

-re    f 

-      Fee  389     6     8 

1 

Fee     40     0     0 

4^0 
Harpers 

Singers 
Rebeck 


HISTORY   OF   THE   SC 

{William  Moore 
Bernard  De  Ponte 


Thomas  Kent 
Thomas  Bowde 


I  E  N  C  E 

Book  I 

Fee 

i8 

5 

0 

Fee 

20 

0 

0 

Fee 

9 

2 

6 

Fee 

9 

2 

6 

John  Seaernecke     -     - 

Sagbutts  in  ("5  haulnge   24I.  6s.  8d.  by 
number  6j 
whereof 


Vyalls  in 
number  S, 
whereof 


the   yeere,    and  one   at 
36I.  10s. 

6  at  30I.  8s.  4d.  the  yeere 
and  one  at  20L  and  an 
other  at  18I.  ^s. 

Richard  Woodward 


1 

eere-j 
a„-| 


{7  at  1 81.  5s.  a  peece 
I  at  24I.  6s.  8d.     - 
I  at  -21.  6s.  8d.     - 


Bagpiper 

Minftrelles 
in  number  gt 
whereof      ^  i  at  3I. 

Dromflades*  r  Robert  Bruer  Mafter  drummer 
in  number  3,)  Alexander  Pencax  -  -  - 
whereof         [johnHodgkin     -         - 

Players  on    COlIuer  Rampons     -       -         - 
(Piei 


the  flutes 


;r  Guye 


Straungers 


Players  of  in- 
terludes in  ^ 
number  8 


Fee     24     6     8 


Fee  158     3     4 


Fee  220 


Fee     1 2 


15     a 


3     4 


f  John  Heywoode 
Players  on   I  Anthony  de  Chounte     - 
v.rgmds     [Robert  Bewman 

'the  4  brethren  Venetians,") 
viz.  John,  Anthony e,  Jaf-  I 
Muficians    )  per  and  Baptifte     -     -      J 
Auguftine  Baffane     -     - 
William  Trofles     - 

MViiliam  Deniuat     - 

'eueryofthem  at  3l.6s.8d. 
by  yeere  26I.  13s.  4d.  in 
Camera 7,  2-^1.  6s.  8d.  in 

^  Sccio  one  3I.6S.  8d.- 


*  Drumslade,  idem  quod  Drummer,  Mirifli. 


Fee 

127 

15 

0 

Fee 

24 

6 

8 

Fee 

3 

6 

8 

Fee 

18 

5 

0 

Fee 

18 

5 

0 

Fee 

18 

5 

5 

Fee 

18 

5 

0 

Fee 

34 

8 

4 

Fee 

50 

0 

0 

Fee 

30 

8 

4 

Fee 

12 

3 

4 

Fee     16     6     8 


Fee 

Fee 
Fee 

4 

36     TO       0 
38       0       0 
38       0       Q 

>       -      Fee 

26    1.3       4 

Makers 

Chap,  6.      AND    PRACTICE   OF   MUSIC. 

'William  Beton 
Organ-maker 
William  Treforer} 
Regal-oiaker     J 


Makers  of 
inftru-  . 
merits. 


}■     -     -     Fee     20     o     o 

-     -     Fee     10     o     o 


Summa  totalis 


1732     5     o 


Total  number  of  perfons     73 


481 


Officers  of  the  Chappell. 


Mafter  of  the 

children  Ri-  ■ 

chard  Bowyer. 


,Fee 


1.     s.     d. 
40      o      O-k 


LargefTe  to  the  children  at  high 

feafts         -  -  -         9  13     4 

Allowance  for  breakfafl:  for  the 

children         -  -         16     o     o 


*^5  13     4 


Gentlemen  of 
the  chappell 
32,  euery  of  i 
them  7d.  ob. 
a  day. 


Emery  Tuckfield      John  Kye 
Nich.  Archibald       John  Angel 
William  Walker       William  Huchins 
Rob.  Chamberleyn  Robert  Phellpps 
William  Grauefend  Thomas  Birde 
Richard  Bowyer        Robert  Perry 
William  Barber         Thomas  Wayte 
Robert  Richmounte  ThomasTalles 
Nicholas  Mellowe     Thomas  Wright  \    365 
John  Bendebow         Robert  Stone 
William  Mawpley    J.  Shepharde 
George  Edwards       Wil.  Hynnes 

or  HuNNis 
Robert  Morecock      Thomas  Manne 
Richard  Alyeworth  Roger  Kenton 
Thomas  Palfreman    Lucas  Cauflell 
RichardFarrant  Edward  Addams'' 


0 


Vol,  III. 


Xxx 


2  at 


48^  HISTORY    OF    THE    SCIENCE     Book  I\r. 

2  at  4d.  ob.  a  day  either  of  them 
5  at  4d.  the  daye  every  of  them 
Hugh  Williams  at  40s.  a  yeere 

Summa  totalis     476   15      «^, 

^73^     5     o  Muficlans  Number  ofperfons    j-i^ 

476    15     5  Officers  of  the  Chappell       Number  ofperfons    41 

2209     o     5   Total  of  both  114 

But  all  the  labour  and  pains  that  had  been  beftowed  in  fettling  as 
ritual  for  the  proteflant  fervice,  were  rendered  vain;   and  the  hopes- 
that  had  been  entertained  of  feeing  the  reformation  of  religion  per- 
fected, were  defeated  by  the  death  of  the  king  in  1553,  and  the  fuc- 
ccffion  to  the  throne  of  the  lady  Mary,  from  whofe  bigotry  and  natu- 
ral gloominefs  of  temper   the   proteftants   had   every   thing  to  fear; 
It   is    fufficiently   known    that  this   event   was    attended   not  onlyt* 
with  an  immediate  recognition  of  the  papal  authority,  but  with  the 
refloration  of  the  Romifli  ritual,  and  that  the  zeal  of  this  princefs  to^ 
undo  all  that  had  been  done  in  the  preceding  reigns  of  her  fathet 
and  brother  was  indefatigable.     In  particular  fhe  feems  to  have  fedu-^ 
loufly  laboured  the  re-eftablifhment  of  the  Romifli   choral  fervice,, 
and  directed  the  republication  of  a  great. number  of  Latin  fervice-- 
books,  among  which  were  the  Primer,  Manual,  Breviary  and  others,., 
in  Ufum  Sarum,  which  were  reprinted  at  London  by  Grafton,  Wayr 
land,  and  other  of  the  old  printers,  with  the  mufical  notes,  for  the- 
ufe  of  her  chapel  *,. 

C     H     A     P.         VII. 

THE  acceflion  of  Elizabeth  to  the  throne  in  1558,  was  followed; 
by  an  a6t  of  parliament,  entitled  an  A6t  for  the  uniformity  of  the 
common  prayer  and  feruice  in  the  church,  and  adminiftration  of  the. 
facraments,   which,    after  reciting  that  at  the  death  of  Edward  VI. 
there  remained  one  uniforme  order  of  common  feruice   and  prayer, . 

*  It  is  worthy  of  remark,  that  notwithftanding  the  fundamental  difference  in  religion  ■ 
and  the  form  of  public  worfhip  in  the  two  reigns,  it  appears  by  a  record  now  in  the  pof- 
felTion.  of  the  Antiquarian  Society,  that  with  the  variety  of  only  a  very  few  nanjes,  the  Wik  of; 
Mary's  chapel  eflablifhment  was  the  fame  with  that  above  given  of  hef  brother  Edward's. 

whiciit 


Chap.7-       AND    PRACTICE    OF    MUSIC.  4S3 

-which  had  been  fet  forth  and  authorized  by  an  aft  of  the  parliament 
holden  in  the  5th  and  6th  years  of  his  reign,  and  that  the  fame  had 
been  repealed  by  an  adl  of  parliament  in  the  firft  year  of  queen  Mary, 
to  the  great  decay  of  the  due  honour  of  God,  and  difcomfort  to  the 
profefTours  of  the  trueth  of  Chriftes  religion,  Doth  enad  *  That  the 
«  faid  ftatute  of  repeal,  and  euery  thing  therein  contained,  only  con- 

*  cernrng  the  faide  booke  and  feruice,  &c.  (hall  be  void.    And  that  all 

*  minifters  fhall  be  bounden  to  {^i)rand  ufe  the  Mattens,  Euenfong,  ce- 
«  lebration  of  the  Lord's  fupper,  and  adminiftration  of  the  facraments 
«  in  fuch  order  and  form  as  is  mentioned  in  the  faid  booke  fo  autho- 
'  rlzed  by  parliament  in  the  fifth  and  fixth  yere  of  the  reign  of  king 
«  Edward  VI.  with  one  alteration  or  addition  of  certaine  leflbns  to  be 

*  ufed  on  euery  Sunday  in  the  yere,  and  the  forme  of  the  Letanie  aU 
<  tered  and  correded,  and  two  fentences  onely  added  in  the  deliuene 

*  of  the  facrament  to  the  communicants,  and  none  other.' 

By  this  ftatute  the  fecond  liturgy  of  Edward  VL  with  a  few  varia- 
tions, was  ref^ored  j  but  here  we  may  note  that  corredion  of  the  li- 
tany which  is  referred  to  by  the  ftatute,  for  it  indicates  a  tem- 
per lefs  irafcible  than  that  which  aduated  the  firft  reformers.  In 
the  litany  of  Henry  VIII,  continued  in  both  the  liturgies  of  Edward 
is  contained  the  following  prayer  :   «  From  all  fedition  and  privy  con- 

*  fpiracy,  from  the  tyranny  of  the  bijhop  of  Rome,  and  all  his  detejl- 
«  able  enormities  ;  from   all  falfe   dodrine  and  herefy,  from  hardnefs 

*  of  heart,  and  contempt  of  thy  word  and  commandment.  Good 
«  Lord  deliver  us  i'  taken,  with  a  very  fmall  variation,  from  this  m 
the  litany  of  the  Lutherans,  *  Vt  ab  hoftium  tuorum,  Turcse,  etPapai 

*  blafphemiis,C2edeet  libidinibus  clementer  nos  confervare  digneris  *.' 

The  corredion  above-mentioned  confifted  in  the  recifion  of  fo 
much  of  the  prayer  for  deliverance  from  fedition,  &c.  as  related  to 
the  biftiop  of  Rome,  and  all  his  deteftable  enormities,  as  they  are 
termed,  and  the  addition  of  the  words  rebellion  and  fchifm,  which 
are  now  a  part  of  the  prayer. 

It  is  faid  of  Elizabetl.,  that  being  a  lover  of  ftate  and  magnificence, 
ftie  was  fecretly  a  friend,  though   not  to  the  dodrinesf,    yet  to  the 

*  In  Pfalmod.  five  Cant,  facra.  vet   Ecclef.  felea.  per  Luc.  Lomum  i.uncbcrg. 

+  Neverthelefs  (he  feemstohave  entertained  fome  opinions  which  none  o.  the  retorm- 
•cd  churches  ivouid  ever  acquiefce  in.  When  one  of  he.  chaplains,  Mr.  Alexander  Nowel, 
dean  of  bt  Paul's,  had  fpoken  lefs  reverently  in  a  fermon  preaclirH  be:ore  her,  ot  the  lign 
of  th-  crois  than  fhe  liked,  fhe  called  doud  to  him  from  her  clofet  window  commanding 
him  to  ret.i-  from  that  ungodl-  aigiemon,  and  return  to  his  text  .\nd  when  one  ot  her 
divines,  on  Good  Friday,  anno  15^5,  had  preached  a  lermon  in  delencc  oi  the  real  pre- 

X  X   X    2  ^^"^^ 


HISTORY    OF    THE    SCIENCE       Book IV. 

pomp  and  fplendor  of  the  RomiQi  religion,  and  confequently  to  the 
ancient  form  of  worfliip  j  and  from  principles  of  policy  fhe  might 
wifli  that  the  difference  between  the  reformed  and  the  Romifh  fervice 
niight  be  as  little  as  poflible  *  -,  the  effeds  of  this  difpofition  were  vi-- 
fible  in  the  reludance  with  which  (he  gave  up  the  ufe  of  images  and 
prayers  for  the  dead,  and  the  behaviour  of  thofe  of  the  Romi(h< 
communion,  who  made  nofcruple  of  attending  the  fervice  of  a  church 
which  had  wrefted  the  fupremacy  out  of  the  hands  of  the  pope  -f-. 

At   the  beginning    of    her   reign,    thofe   divines   who    had   fl,ed 
from  the  perfecution  under  Mary,  to  Francfort,   and  other  parts  of 

fence,  flie  openly  gave  him  thanks  for  his  pains  and  piety.     Heylin's  Hiftory  of  the  Re- 
formation, Eliz.  pag.  124.     It  feems  that  when  (he  gave  that  fhrewd  anfwer  to  a  Popifh 
prieft,  who  prefled  her  very  hard  to  declare  her  opinion  touching  the  prefence  of  Chrift:  in, 
the  facramcnt : 

'Twas  God  the  word  that  fpake  it. 
He  took  the  bread  and  brake  it  i 
And  what  the  word  did  make  it,, 
That  I  believe,  and  take  it. 

fhe  had  either  not  fettled,  or  was  too  wife  to  declare,  her  opinion  touching  the  doftrine- 
of  tranfubftantiation, 

*  It  is  certain  (he  had  a  crucifix  in  her  chapel.  See  a  letter  from  Sandys  biftiop  of 
Worcefter  to  Peter  Martyr,  exprefling  his  uneafinefs  at  it.  Burn.  Reform.  III.  289  291, 
and  Records  to  book  VI.  No.  61.  Heyliii  fays  that  it  remained  there  forfome  years,  till 
it  was  broke  to  pieces  by  Patch  the  fool,  no  wifer  man  daring  to  undertake  fuch  a  defperate 
fervice,  at  the  folicitation  of  Sir  Francis  Knolles,  a  near  relation  of  the  queen.  Heylin's 
Hiflof  the  Reformation,  Eliz.  pag.  124.    Nealgoes  much  farther,  and  fays  '  that  the  altar 

*  was  furniflied  with  rich  plate,  with  two  gilt  candlefticks,  with  lighted  candles,  and  a 
••  mafly  crucifix  in  the  midft,  and  that  the  fervice  was  fung  not  only  with  organs,  but  with 

*  the  artificial  mufic  of  cornets,  facbuts,  &c.on  folemn  feflivals.    That  the  ceremonies  ob- 

'  ferved  by  the  knights  of  the  garter  in  their  adoration  tov/ards  the  altar.,  which  had  been. 

*  abolifhed  by  Edv/ard  VI.  and  revived  by  queen  iMary,  were  retained.     That,  in  (hort, 

*  the   fervice  performed  in  the  queen's  chapel,  and  in  fundry  cathedrals,  was  fo  fplendid 

*  and  fhowy,  that  foreigners  could  not  difLinguifli  it  from  the  Roman,  except  that  it  was  . 
*performed  in  theEnglifh  tongue.'  By  this  method,  he  adds,  moftof  the  Popifh  laity 
were  deceived  into  conformity,  and  came  regularly  to  church  for  nine  or  ten  years,  till 
the  pope,  being  out  of  all  hopes  of  an  accommodation,  forbad  them,  by  excommunicat- 
ing the  queen,  and  laying  the  whole  kingdom  under  an  interdidl.  Hift.  of  the  Puritans, 
vol.  I.  page  \^6. 

t  This  fadl  is  rather  invidioufly  mentioned  by  Neal,  in  the  palTage  cited  from  him  in  the 
preceding  note  ;  the  authority  for  it  is  a  letter  from  the  queen  to  Sir  Francis  Walfyngham,  , 
dated  II.  Aug    1570,  in  which  fhe  fays  of  the  R.oman  Catholics,  '  that  they  did  ordina- 

*  rily  refort  from  the  beginning  of  her  reign  in  all  open  places  to  the  churches,  and  to  di- 

*  vine  fervices  in  the  church,  without  contradiflion  or  fhewof  mifliking:'  to  the  famepur- 
pcfe  Sir  Edward  Coke,  in  a  charge  of  his  at  Norwich  affizes,  aflerted  that  for  the  firft  ten 
years  of  queen  Elizabeth's  reign  the  Roman  Catholics  came  frequently  to  church  ;  and  in  his. 
fpeech  againft  Garnet,  and  other  confpirators,  he  affirmed  this  upon  his  own  knowledge, 
giving  an  inftance  thereof  in  Bedingfield,  Cornwallis,  and  feveral  others  of  th?  Romifh 
perfuaCon.    Collier's  Ecclefiart.  Hift.  vol.  II.  pag.  436. , 

Ger-. 


Chap.  7-       AND    PRACTICE    OF    MUSIC.  485: 

Germany,  and  to  Geneva,  and  had  contradted  a  diflike  to  the  difci- 
pllne  eftablifhed  in  England,  together  with  fome  of  the  principal 
-courtiers,  made  Tome  faint  attempts  towards  a  revival  of  the  oppofi- 
tion  to  choral  fervice;  they  infifted  that  the  pfalms  of  David  in  me- 
tre, fet  to  plain  and  eafy  melodies,  were  fufficient  for  the  purpofes  of 
edification  ;  and  for  this  they  appealed  to  the  authority  of  Calvin, 
and  the  pradice  of  the  churches  under  his  diredion.  But  the  queen,, 
and  thofe  to  whom  flie  had  committed  the  care  of  revifing  the  litur- 
gy, thought  that  the  foreign  divines  had  already  meddled  more  in. 
thefe  matters  than  became  them  ;  the  common  prayer  of  her  bro- 
ther had  been  once  altered  to  pleafe  Calvin,  Bucer,  Fagius,  and. 
others  of  them,  and  flie  feemed  determined  to  make  no  more  con-^ 
cefilons,  at  leaft  to  that  fide,  and  therefore  infifted  on  the  retention 
of  the  folemn  church  fervice. 

The  declaration  of  her  will  and  pleafure  in  this  refped'  is  contain- 
ed in  the  forty-ninth  of  thofe  injunctions  concerning  the  clergy  and 
laity  of  this  realm,  which  were  publifhed  by  her  in  the  firfi:  year  of 
her  reign,  A.  D.  1559  ;  they  were  printed  firft  by  Jugge  and  Ca— 
wood,  and  are  to  be  found  in  Sparrow's  Colledlion  of  Articles,  In- 
jundions,  and  Canons,  in  quarto,  1684.  That  above  referred  to,  in- 
titled  *  for  continuance  of  fyngynge  in  the  church,'  is  in  the  words 
following  : 

*  3jtcm  fircaufcin  hpmt^  coHcgiate,  anti  alfo  fmm  paritfte  cfjiircfirs?, 
tjicrc  fiatf)  been  Kpupngc^  appopmeb  for  tlje  mapntcnauncc  of  nicnnc 
aitb  cgpltrren,  to  utc  fpngpngc  in  tge  efjurcge,  ijp  meaner  toJicrcof  t^e 
iatobaMc  fcpcnce  of  muficfte  gatf)  &cn  ifjati  in  eftimation,  anti  prc= 
Utmh  in  fenoUJkbge :  €f{c  quceneief  maieRic,  neptifict  meanpngc  in  anp 
tuife  tfje  tieeapc  of  anp  tfjpn^  tftat  mpgfjt  conuenientlp  tenijc  to  t{|c 
life  aiitE  continuaunce  of  tljc  faibe  fcience,  ncptljcr  to  Ijaiie  t^c  fame 
in  anp  ^artc  fo  afiufeti  in  tlje  cfjurctje,  tftat  tl^crebp  tt^c  common 
prapei*  f{)ou][be  Ibc  tgc  tDorfe  unberffanbc  of  tfie  f^tacct^:  Jl^pUetJ 
anb  commanbcrf)  tJjat  fpr0  no  alteration  lie  mabe  of  fucifj  alTlgncmentCiaf 
of  Ipupnge  ajs  i^eretofore  l)atf)  been  appointeb  to  t^t  ufc  of  fynrypnge 
or  mufpchc  in  tfje  e^urefje,  hut  tfjat  tfje  fame  fo  rcmapnc.  3llnb  tljat 
tfyxt  bee  a  mobefi^e  anb  bepftpnctc  fong  fo  ufcb  in  aU  partejGi  of  tt^e 
common  prapcr^  in  t|)e  cftilrc&e,  tf)at  t^e  fame  map  tie  a0  plapnelp 
unberffanbcb  a^  pf  it  toere  reab  toitjjout  fpnffpng.  311nb  pet  ncbcr= 
'  tijf^kftt  for  ilie  comforting  of  fucJj  a^  Mitt  in  muficlfte,  it  map  6c: 

'•  gcr;: 


.486  HISTORY    OF    THE    SCIENCE     BooklV. 

'^  ^ct\mttcb  tf^at  ill  tfjc  ficgpnningc  oi:  in  tl^ciili  of  common  yrapcr^, 
<  citijct  at  morn^ngc  oc  cucnpngc,  ttjcce  mapc  6c  fungc  an  Jjpmne 
'  or  fucijc  Jphc  fongc,  to  tlK  prapfc  of  ^imiiglfjtp  <^oti,  in  t{jc  Iicft 
'  forte  of  mclotjpe  anti  mufichc  tfiat  mapc  lie  conucnicntlip  ticupfcb,  f|au= 
'  yngc  rcfpcctc  tjjat  tgc  fcntcncc  of  tljc  fjpmnc  map  ficc  unbcrnranticti  and 
'  jjcrccpuctj/ 

And  yet,  notwithftanding  this  exprefs  declaration  of  the  queen's 
pleafure  with  regard  to  continuance  of  finging  in  the  church,  about 
ihree  years  after  the  pubhlhing  thefe  her  injundtions,  fix  articles, 
tending  to  a  farther  reformation  of  the  liturgy,  were  prefented  to  the 
lower  houfe  of  convocation,  the  laft  whereof  was  that  the  ufe  of 
organs  be  removed  from  churches  j  which,  after  great  debate,  were 
{0  near  being  carried,  that  the  rejection  of  them  was  owing  to 
a  fingie  vote,  and  that  too  by  the  proxy  of  an  abfent  member  *» 
•Bifhop  Burnet  has  given  from  Strype,  but  without  a  direction  where 
they  are  to  be  found,  the  heads  of  another  propofal  for  a  reforma- 
tion, wherein  it  is  infifted  that  organs  and  curious  finging  fhould 
be  removed  -f. 

In  the  refolutlon  which  queen  Elizabeth  maintained  to  continue 
the  folemn  mufical  fervice  in  the  church,  it  is  fuppofed  fhe  was  con- 
firmed by  Parker,  whom  fhe  had  then  lately  promoted  to  the  fee  of 
Canterbury,  a  man  of  great  learning  and  abilities,  and,  as  it  happened, 
eminently  fkilled  in  mufic.  Strype,  in  his  life  of  this  prelate,  fays  he 
had  been  taught  in  his  youth  to  fing  by  one  Love,  a  pried,  and  alfo  by 
one  Manthorp,  clerk  of  St.  Stephen's  in  Norwich.  In  his  retirement 
from  the  perfecution  under  queen  Mary  he  tranflated  into  Engli(h 
verfe  the  whole  book  of  the  pfalms  of  David.  In  the  foundation  of 
his  college  at  Stoke  in  Suffolk  is  a  provifion  for  querifters.  He  had 
a  confiderable  hand  in  framing  the  liturgy  of  queen  Elizabeth  j  the 
preface  thereto,  beginning  *  It  hath  been  the  wifdom  of  the  church 
^  of  England,'  is  confefTedly  of  his  drawing  up  ;  and  it  is  more  than 
probable  that  the  directions  concerning  the  fervice  of  the  church,  and 
the  declaration  concerning  ceremonies,  which  immediately  follows, 
were  of  his  writing.  Some  of  the  particulars  above  related  afford 
ground  for  a  conjecture  that  Parker's  afFed:ion  to  mufic  might  co- 
oper .te  with  his  zeal  for  the  church,  and  induce  him  to  join  with 
Elizabeth  in  her  endeavours  to  reform  the  choral  fervice,  and  con- 

*  Burn.  Hid.  Reform,  part  III.  pag.  303.  f  Ibid.  304. 

fequently 


Cfiap.  7.       AND    PRACTICE    OF    MUSIC.  48^? 

fcquently  that  its   re-eftablifliment  was  in   fome   degree  owing  ta 
him. 

By  the  paffing  of  the  ad;  of  uniformity  of  the  firft  of  Eh'z.  cap.  2,  the 
common  prayer  and  communion  fervice  were  reftored  by  fuch  words 
of  reference  to  the  ufage  in  her  brother  Edward's  time,  as  would 
well  warrant  the  ufe  of  that  mufic  which  Marbeck  had  adapted  tO' 
them  ;  for  which  reafon,  and  becaufe  it  had  been  printed  under  the- 
fandlion  of  royal  authority,  the  Booke  of  Common  Praier  noted  by 
John  Marbecke,  was  con-fidered  as  the  general  formula  of  choral 
fervice  :  and  to  the  end  that  the  whole  fhould  be  uniform  and  con- 
fident, it  is-  direded  by  the  rubric  of  Elizabeth's  liturgy,  that  in- 
fuch  places  where  they  do  fing,  thofe  portions  of  fcripture  which 
conftitute  the  lelTons  for  the  day,  as  alfo  the  epiftles  and  gofpels,. 
fhall  be  fung  in  a  plain  tu-ne,  after  the  manner  of  diftincft  reading  ; 
the  meaning  whereof  feems  to  be,  that  they  fhould  be  uttered  in  a 
kind  of  monotony,  with  a  reference  to  the  dominant  or  key-note  of 
the  fervice,  which  for  the  mod  part  lay  in  C  fa  ut,  that  being 
nearly  the  mean  tone  of  a  tenor  voice ;  and  moft  of  the  printed  col- 
ledions  of  fervices  give  as  well  the  intonation  of  the  leflbns,  as  the 
melodies  of  the  hymns  and  evangelical  fongs. 

The  fettlement  of  religion,  and  the  perfeding  of  the  reformation, 

as  it  was  of  the  utmoft  importance  to  the  peace  of  the  kingdom,  and 

coincided  with  the  queen's  opinion,  (o  was  it  the  firfl  great  objed  of 

her  attention.     Shefucceeded  to  the  crown  on  the  feventeenth  day  of 

November  in  the  year  1558  -,  on  the  twenty-eighth  of  April,  1559,' 

the  bill  for  the  uniformity  of  the  common  prayer  pafTed  into  a  law, 

and  was  to  take  effed  on  the  twenty-fourth  day  of  June  then  next. 

Hitherto  the  Romifli    office  was   permitted   to  continue,  the  Latin 

mafs-book  remained,  and  the  priefts  celebrated  divine  fervice  for  the- 

moft  part  as   they   had   done   in  the   time  of  queen  Mary,  during- 

which  interval  were  great  and  earneft  difputes  between  the  Proteftant 

and  Romifh  clergy  touching  the  Englifli  fervice-book.     It  feems  that 

the  queen  was  fo  eager  to  hear  the  reformed  fervice,  that  (lie  antici-- 

pated  its  rpftoration  ;  for  whereas  the  ad  required  that  it  (hould  take 

place  throughout  the  kingdom  on    St.  John  Baptift's  day,  fervice  in 

Englifh  was  performed,  in  her  chapel  on  Sunday,  May  the  fecond  *,, 

which  was  but  four  days  after  the  ufe  of  it  was  enaded. 

*  Strype,  in  his  Annals,  vol.  I.  pag.  191,  fays  the  twelfth  of  May  ;  but  in  this  he  muft.- 
bc-miftaken,  he  having  before,  viz.  pag.  77,  faid  that  the  bill  paflcd  April  the  twentyr 

eijhih^ 


488  HISTORY    OF    THE    SCIENCE       Book  IV. 

The  liturgy  of  queen  Elizabeth  was  printed  in  the  firft  year  of  its 
cftabliHiment  with  this  title,  *  The  Boke  of  common  prayer  and  ad- 

*  minirtration  of  the  facraments,  and  other  rites  and  ceremonies  of 

*  the  church  of  England  5'  and  the  licenfe  contained  in  the  rubrics, 
which  declare  that  it  may  be  faid  or  fung,  and  dire(ft  that  in  choirs 
and  places  where  they  fing,  tlie  anthem  rti all  follow  certain  parts  of 
the  fervice,  is  a  plain  intimation  that  this  form  of  divine  worfhip  was 
calculated  as  well  for  choral  as  parochial  fervice.  The  queen's  in- 
jundions,  and  alfo  the  ad:  of  uniformity,  amounted  to  a  tacit  recog- 
nition of  a  folemn  choral  fervice;  and  under  the  authority  of  thefe, 
that  of  Marbcck  was  fung  in  the  feveral  choirs  throughout  the  king- 
dom, but  it  was  foon  found  that  this  formula,  excellent  as  it  was  in 
•its  kind,  was  not  adequate  to  all  the  purpofes  of  framing  it.  In 
(liort,  it  was  mere  melody  ;  the  people,  whofe  ears  had  been  ac- 
cuftomed,  as  the  homily  above-cited  expreiTes  it,  to  piping,  fing- 
ing,  chanting,  and  playing  on  the  organs,  could  but  ill  brook  the 
lofs  of  thofe  incentives  to  devotion  -,  and  in  the  comparifon,  which 
they  could  not  but  make  between  the  pomp  and  fplendor  of  the  old 
form  of  worfliip,  and  the  plainnefs  and  fimplicity  of  the  new,  they 
were  not  a  little  difpofed  to  prefer  the  former ;  the  conlideration 
whereof  was  probably  the  motive  to  the  publication  in  the  year  1560 
•of  a  mufical  fervice  with  this  title,  *  Certaine  notes  fet  forth  in  foure 

*  and  three  parts,  to  be  fong  at  the  morning,  communion,  and  eve- 
-*■  ning  praier,  very  neceffarie  for  the  church  of  Chrifte  to  be  fre- 
«  quented  and  ufed  :  and  unto  them  added   divers  godly  praiers  and 

*  pfalmes  in  the  like  forme,  to  the  honor  and  praife  of  God.  Im- 
•*  printed  at  London,  over  AlderfgatC;  beneath  S.  Martins,  by  John 
«   Day,    1560.' 

•eighth.  By  a  pafTage  in  the  fame  volume  of  the  Annals,  page  134,  it  feems  that 
the  pracTtice  of   Tinging  pfalms  in  churches  had  its  rife  a  few  months  atter,  for   he  fays 

*  Oil  the  day  of  this  month,  September  [1559]  began  the  true  morning  prayer 

*  at  St.  Antholin's,   London.,  the  bell  beginning  to  ring  at  five,  when  a  pfalm  was  fung 

*  after  the  Geneva  fafliion,  all  the  congregation,  men,  women,  and  boys  finging  together.' 
Biihop  Juel,  in  a  letter  written  in  March,  1560,  feems  to  allude  to  this  fail  ;  his  words 

are,  '  the  fmging  of  pfalms  was  begun  in  one  church  in  London,  and  did  quickly  ipread 
'  itfelf,  not  only  through  the  city,  but  in  the  neighbouring  places :  fometimes  at  Paul's 
'  Crofs  there  will  be  6000  people  finging  together.  Vide  Burnet  Hid.  Reform,  part  IIL 
png.  2qo  The  foreign  proteflants  had  diftinguifhed  themfelves  by  this  pra£lice  fome 
years  before.  Roger  Afcham,  in  a  letter  from  Augufta  in  Germany,  dated  14  Maii,  1 551, 
{"ays  '  thiee  or  four  thoufand,  finging  at  a  time  in  one  church  of  that  city  is  but  a  trifle.' 
Afcham's  Works,  publiQied  by  James  Bennet,  410.  pag.  382, 

It 


Chap.  7.       AND    PRACTICE   OF   MUSIC;  489 

It  does  not  appear  by  this  book  than  any  innovation  was  made  in 
the  fervice  as  formerly  fet  to  mufical  notes  by  Marbeck,  and  there  is 
good  reafon  to  fuppofe  that  the  fupplications,  refponfes,  and  the  me- 
thod of  intonating  the  Pfalms  remained  the  fame  as  he  compofed 
them.  But  it  is  to  be  remarked,  that  although  the  litany  made  a 
part  of  king  Edward's  firft  liturgy  *,  Marbeck  had  omitted  orpurpofely 
forborne  to  fet  mufical  notes  to  it ;  and  this  is  the  rather  to  be  won- 
dered at,  feeing  that  it  was  the  ancient  pradice  of  the  church,  found- 
ed on  the  example  of  St.  Gregory  himfelf,  to  fing  it  j  this  omiffion 
however  was  foon  fupplied  by  the  compofer,  whoever  he  was,  of 
the  litany  in  the  book  above  defcribed,  and  afterwards  by  Tallis,  who 
compofed  the  litany  known  by  his  name,  which,  by  reafon  of  its  fu- 
perior  excellence,  is  the  only  one  of  many  that  have  been  made,  that 
is  ufed  at  this  day.  The  great  difference  between  Day's  firft  book 
and  that  of  Marbeck  appears  to  be  this.  In  Marbeck's  the  whole  of 
the  fervice  was  fet  to  mufic  of  one  fingle  part,  whereas  in  that  pub- 
lifhed  by  Day,  the  offices  in  general  were  compofed  in  four  parts ; 
the  following  is  the  order  in  which  they  fland,  Venite  exultemus,  Te 
Deum  laudamus,  Benedidus  Dominus,  the  Letanie,  the  Lorde's 
Praier  j  the  Communion  office,  containing  the  Kyries  after  the  com- 
mandments, Gloria  in  excelfis,  Nicene  Creed,  Sand:us,  the  bleffing 
of  the  minifler  upon  the  people. 

The  offices  in  the  order  of  evening  prayer  fet  to  mufic  are  only  the 
Magnificat  and  Nunc  dimittis. 

Befides  thefe  the  book  contains  fundry  prayers  and  anthems,  com- 
pofed alfo  in  four  parts,  in  many  of  which  this  particular  is  remark- 
able, that  the  bafs  part  is  fet  for  children. 

The  book  alfo  gives  the  names  of  many  of  thofe  that  compofed 
the  mufic  ;  but  it  is  to  be  obferved  that  the  litany  has  no  name  to  it, 
neither  does  it  in  the  leaft  correfpond  with  the  litany  of  Tallis,  [o 
that  we  may -fuppofe  that  he  had  not  then  fet  that  office  to  mufic. 
Befides  the  name  of  Tallis,  which  occurs  firfl  at  the  end  of  the 
prayer  *  Heare  the  voice  and  prayer  of  thy  fervants,'  &c.  we  have  thefe 
that  follow,  Thomas  Cawflon,  M.  [for  Mafter]  Johnfon,  Oakland^ 
Shepard  ;  and  near  the  end  of  the  book  is  inferted  an  In  Nomine  of 
Mafler  Tauerner,  the  bafs  part  for  children. 

Five  years  after  this,  was   publiihed  another  collecftion  of  offices, 
with  mufical   notes,   with  the  following  title,   *Mornyng  and  Euen- 
*  See  the  twenty-fecond  of  king  Edward's  Injun<S\ions. 

Vol.  Ill,  ^  y  y  '  yng 


490  HISTORY    OF    THE    SCIENCE     BooklV. 

*  yng  prayer  and  Communion  fet  forthe  in  foure  partes,  to  be  fong  in 

*  churches,  both  for  men  and  children,  with  dyuers  other  godly 
'  prayers  and  anthems  of  fundry  mens  doynges.  Imprinted  at  Lon- 
«  don  by  John  Day,  i ^6^,* 

The  names  of  muficians  that  occur  in  this  latter  colledion  are 
Thomas  Cawfton,  Heath,  Robert  Hafleton,  Knight,  Johnfon,  Tallis, 
Oakland,  and  Shepard. 

Each  of  thefe  works  muft  be  confidered  as  a  noble  acquifition  to 
the  fcience  of  mulic  ;  and  had  but  the  thought  of  printing  them  in 
fcore  alfo  occurred  to  thofe  who  direded  the  publication,  the  world 
had  reaped  the  benefit  of  their  good  intentions  even  at  this  day  ;  but 
being  publiflied  as  they  are  in  feparate  parts,  the  confequence  was 
that  they  could  not  long  be  kept  together;  and  the  books  are  nowfo 
difperfed,  that  it  is  a  quefiion  whether  a  complete  fet  of  all  the  parts 
of  either  of  thefe  two  colledllons  is  now  to  be  found  :  and  a  farther 
misfortune  is,  that  few  perfons  are  fufficiently  fldlled  in  mufic  to  fee- 
the  evil  of  feparating  the  parts  of  mufic  books,  or  to  attempt  the  re- 
trieving them  when  once  fcattered   abroad  -,  on  the  contrary,  many 
learned  men  have  taken  a  fingle  part  for  the  whole  of  a  mufical  work,, 
and  have  thought  themfelves  happy  in  the  pofi^effion  of  a  book  of  far 
lefs  value  than  a  mutilated  ftatue.     A  fingle  part  of  the  Cantiones  of 
Tallls  and  Bird,   with  the  word  Difcantus  at  the  top  of  the  title-page,. 
to  diftinguifh  it  from  the  Superius,   Medius,  BaiTus,  and  other  parts, 
was  in  the  pofifefllon  of  the  late  Dr.  Ward,  Grefham  profefibr  of  rhe- 
toric ;  and  he,  though  one  of  thebeft  grammarians  of  his  time,  mif- 
took  that  for  part  of  the  title,  and  has  given  It  accordingly.     In  like 
manner,  Ames,  a  man  of  fingular  induftry  and  intelligence  in  matters- 
that  relate  to  printing,  having  in  his  poffeflion  the  Morning  and  Even- 
ing Prayer  of  1565,  abovementioned,  has  defcribed  it  in  his  Typo- 
graphical Antiquities  by  the  title  of  the  Common  Prayer  with  mufical; 
notes  Secundus  Contratenor,  never  imagining  that  thefe  two  latter 
words  were  no  part  of  the  title,  and  that  he  had  only  one  fourth' 
part  of  a  work  which  appeared  to  him  to  be  complete, 

Neverthelefs  the  public  were  great  gainers  by  the  fetting  forth  of 
the  two  colledions  of  church-mufic  abovementioned  in  print,  one- 
advantage  whereof  was,  that  the  compofitions  therein  contained  were,,, 
by  means  of  the  prefs,  fecured  againftthat  corruption  which  inevita-. 
bly  attends  the  multiplication  of  copies  of  books  by  v/riting;  and: 

although 


Chap.8.       AND    PRACTICE    OF    MUSIC.  491 

although  it  may  be  faid  of  ancient  manufcripts  in  general,  that 
they  are  far  more  corredly  and  beautifully  written  than  any 
fince  the  invention  of  printing,  it  is  eafy  to  fee  that  the  in- 
creafe  of  written  copies  muft  neceflarily  have  been  the  propagation  of 
error;  and  the  fad  is,  that  the  ancient  church-fervices,  which  before 
this  time  had  been  ufually  copied  by  monks  and  finging-men  for  the 
ufe  of  their  refpedive  churches,  were,  till  they  were  correded,  and  the 
text  fixed  by  printed  copies,  fo  full  of  errors  as  to  be  fcarce  fit  for  ufe. 


CHAR         VIIL 

THUS  was  the  folemn  choral  fervice  eftablifhed  on  a  legal  foun- 
dation, and  the  people  not  only  acquiefced  in  it,  but  thought  it 
a  happy  temperature  between  the  extremes  of  fuperflition  and  fanati- 
cifm  J  but  the  difciplinarian  controverfy,  which  had  its  rife  in  the  pre- 
-ceding  reign,  and  had  been  fet  on  foot  at  Francfort  and  Geneva,  whi- 
ther many  able  divines  had  fled  to  avoid  perfecution,  was  puQied  with 
great  vehemence  by  fome,  who  infifled  on  a  farther  reformation  in 
matters  of  religion  than  had  as  yet  taken  place  5  thefe  were  the  men 
called  Puritans,  of  whom  *the  leader  at  that  time  was  one  Thomas 
Cartwright. 

This  man,  a  bachelor  of  divinity,  a  fellow  of  Trinity  college 
Cambridge,  and  Lady  Margaret's  profeffor  in  that  univerfity,  in  his 
public  led:ures,  red  in  the  year  1570,  had  objeded  to  the  dodlrine  and 
difcipline  of  the  church.  Againft  the  tenets  of  Cartwright  Dr.  Whit- 
gift,  afterwards  archbilhop  of  Canterbury  preached  j  Cartwright 
challenged  the  dodtor  to  a  public  difputation,  which  the  latter  re- 
fufed  unlefs  he  had  the  queen's  licence  for  it ;  he  however  offered  a 
private  conference  with  him  in  writing,  which  the  other  declin- 
ing, Whitgift  colled:ed  from  his  ledures  fome  of  the  mofl  ex- 
ceptionable proportions,  and  fent  them  to  the  queen,  upon  which 
Cartwright  v/as  deprived  of  his  fellowfhip,  and  expelled  the  univer- 
fity. He  then  went  abroad,  and  became  minifter  to  the  Englifh 
merchants  at  Antwerp,  and  afterwards  at  Middleburg ;  in  his  ab- 
fence  the  Puritans  had  drawn  up  a  book  entitled  An  Admonition  to 
the  Parliament,  containing  an  enumeration  of  their  grievances,  the 
authors  whereof,  two  Puritan  minlfters,  Mr.  Field  and  Mr.  Wilcox, 

Y  y  y  2  were 


492  HISTORY    OF    THE    SCIENCE      BooklV. 

were  committed  to  Newgate ;  foon  after  this  Cartwright  returned, 
and  drew  up  a  fecond  admonition  *,  upon  which  a  controverfy  en* 
fued,  wherein  Cartwright  maintained  that  the  holy  fcriptures  *  were 

*  not  only  a  ftandard  of  dodrine,  but  of  difcipline  and  government, 
«  and  that  the  church  of  Chrift  in  all  ages  was  to  be  regulated  by 

*  them.' 

Whitgift  on  the  other  hand  aflerted,  that  though  the  holy  fcrip- 
tures are  a  perfedt  rule  of  faith,  they  were  not  defigned  as  a  ftandard 
of  church  difcipline  or  government ;  but  that  the  forms  of  thefe  are 
changeable,  and  may  be  accommodated  to  the  civil  government  we 
live  under  :  That  the  apoftolical  government  was  adapted  to  the 
church  in  its  infancy,  and  under  perfecution,  but  was  to  be  enlarged 
and  altered  as  the  church  grew  to  maturity,  and  had  the  civil  ma- 
giftrate  on  its  fide. 

In  the  courfe  of  this  difpute  objedlions  were  made  to  the  liturgy, 
and  to  the  form  and  manner  of  cathedral  fervice,  particularly  againft 

*  the  tofling  the  pfalms  from  one  fide  to  the  other,'  a  faxcaftical  ex- 
preflion  which  Cartwright  frequently  ufes,  with  the  interming- 
ling of  organs.  Whitgift  had  defended  this  pradtice  by  the  ex- 
ample of  the  primitive  Chriftians,  and  upon  the  general  principle 
that  the  church  had  a  power  to  decree  rites  and  ceremonies  agreeable 
to  the  twentieth  article  of  the  church  of  England  j  and  here  the  dii^ 
pute  refted  for  feme  time  -|- ;.  but  it  was  afterwards  revived  by  Waiter 

*  Fuller  feems  to  be  miftalcen  in  his  affertlbn  that  Cartwright  drew  up  the  fi'rft  admo- 
nition i  Neal  afcribes  it  to  the  two  perfons  above-named  :  both  admonitions  were  rejected 
by  the  parliament;  but  the  Puritans  met  with  fuch.  favour  from  fome  of  the  members,, 
that  upon  the  difTolution  of  it,  they  prefumed  to  ere6l  a  prelbytery  at  Wandfworth  in: 
Surrey  ;  this  was  in  1 572,  and  from  hence  the  origin  of  nonconformiiT:  or  diflenting  meet- 
ing-houfes  in  this  kingdom  is  to  be  computed.  Vide  Fuller's  Church  Kift.  of  Britaia,. 
Cent.  XVI.  bookix.  psg.  103. 

f  It  appears  that  Cartwright  profecuted  this  difpute  many  years  after  his  return  from 
abroad  j  and  that  in  September,  i  590,  he  was  convened  before  the  eccleGaftLcal  commif- 
iioners  ;  and  for  refufing  to  take  the  oath  ex  officio,  was-  committed  to  the  Fleet,  [Collier 
Eccl.  Hift.  vol.  11.  626  3  but  was  afterwards  pardoned,  and  retired  to  an  hofpital  at  War- 
wick, of  which  he  was  mafter,  and  lived  in  friendship  with  thrc  archbiftiop  ever  after. 
lib.  640.]  Life  of  Hooker,  14.  Nay  it  is  faid  that  he  changed  his  opinion,  and  fore'y 
lamented  the  unneceflary  troubles  he  had  caufed  in  the  church  by  the  fchifm  which  he. 
had  been  the  great  fomenter  of.     Biogr.  Brit.  vol.  VI.  part  II.  pag.  4253,  note  KKIC 

Contemporary  with  Cartwright  was  Robert  Brown,  a  m.an  defcended  of  a  good  family 
in  Rutlandlhire,  and  adiftant  relation  of  the  lord  treafurer  Burleigh  ;  this  man,  though 
bred  in  Bennet  college,  Cambridge,  entertaining  a  diflike  to  the  doctrine  and- difcipline  of 
the  eftablifhed  church,  left  England,  and  joined  Cartwright's  congregation  at  Middleburg,. 
and,  being  a  man  of  bold  temper  and  turbulent  difpofition,  laboured  with  all  his  might, 
to  widen  the  breach  that  Cartwright  had  made  between,  the  Puritans  and  the  church,  and 


Chap.  8.      AND    PRACTICE    OF    MUSIC.  493 

Travers,  the  leaurer  at  the  Temple,  a  friend  of  Cartwright ;  and  a 
formal  examination  and  refutation  of  his  tenets  was  undertaken  by 

to  multiply  the  rcafons  againft  conformity ;  to  this  end  he  contended  that  church  govern- 
ment was  antichriftian,  that  the  rites  of  the  church  of  England  were  fuperftitious,  and  its 
liturgy  a  mixture  of  popery  and  paganifm:  a  fummary  of  his  do£lrines,  which  are  faid  to  be 
the  fame  in  cWe€t  with  thofe  of  the  Donatifts,  is  contained  in  a  book  printed  by  him  at  Mid- 
dleburg,'intitled  a  Treatife  of  Reformation,  of  which  many  copies  were  difperfed  inEngland. 

Returning  hither  foon  after  the  publication  of  his  book,  Brown,  together  with  one  Ri- 
chard Harrifon,  a  country  fchool-mafter,  affociated  himfelf  with  fome  Dutchmen  of  the 
Anabaptifl:  fed,  and  began  a  formal  fchifm,  in  which  he  fucceeded  fo  well,  that  many  fe- 
parate  congregations  were  fet  up  in  divers  parts  of  the  kingdom  ;  at  length  his  behaviour 
drew  on  him  the  cenfures  of  the  church,  which  brought  him  to  a  partial  recantation  of  his 
opinions,  and  procured  him  a  benefice  in  Northamptonfliire  ;  but  he  foon  after  relapfed, 
and  in  an  advanced  age  died  in  Northampton  goal,  to  which  prifon  he  had  been  committed 
for  a  breach  of  the  peace,  not  being  able  to  find  fureties  for  his  keeping  it.  Fuller,  who 
was  acquainted  with  him,  and  had  heard  him  preach,  gives  the  following  circumftantial 
relation  of  the  caufes  and  manner  of  his  commitment  and  death. 

'  As  for  his  death  in  the  prifon  of  Northampton  many  years  after,  in  the  reign  of  king 

*  Charles,  anno   1630,  it  nothing  related  to  thofe  opinions  he  did,  or  his  followers  do 

*  maintain,  for,  as  I  am  credibly  informed,  being  by  the  conftable  of  the  parifh,  who 
«  chanced  alfo  to  be  his  god-fon,  fomewhat  roughly  and  rudely  required  the  payment  of  a 

*  rate,  he  hapned  in  paffion  to  ftrike  him.     The  conftable  not  taking  it  patiently  as  a  cafti- 

*  gation   from  a  god- father,  but  in  anger,  as  an  affront  to  his  office,  complained  to  Sir 

*  Rowlarwl  St.  John,  a  neighbouring  juftice  of  the  peace,  and  Brown  is  brought  before 
him.  The  knight  of  himfelf  was  prone  rather  lo  pity  and  pardon  than  punifli  his  paf- 
fion, but  BroNAii's  behaviour  was  fo  ftubborn,  that  he  appeared  obflinately  ambitious  of 
a  prifon,  as  defirous  after  long  abfence  to  renew  his  familiarity  with  his  ancient  acquaint- 
ance. His  mittimus  is  made,  and  a  cart  with  a  feather-bed  provided  to  carry  him,  he 
himfelf  being  too  infirme  (above  eighty)  to  goe,  too  unweldie  to  ride,  and  no  friend  fb 
favourable  as  to  purchafe  for  him  a  more  comly  conveyance.     To  Northampton  jayle 

»  he  is  fent,  where  foon  after  he  fickned,  died,  and  was  buried  in  a  neighbouring  church- 

*  yard  ,  and  it  is  no   hurt  to  wilh  that  his  bad  opinions  had  been  interred  with  him/ 
Church  Hift.  Cent.  XVI.  book  ix.  page  168. 

The  fame  author  relates  that  he  boafted  he  had  been  committed  to  thirty-two  prilons,, 
fome  of  them  fo  dark,  that  in  them  he  was  not  able  to  fee  his  hand  at  noon  day. 

The  opinions  which  Brown  had  propagated  were  thofe  which  diftinguiQied  that  religious- 
fea,  who  after  him  were  called  Brownifls.  Not  only  Fuller  and  Collier,  but  Neal  alio 
reprefent  him  as  a  man  of  an  idle  and  diflblute  life,  in  no  refpeft  refembling  either  Cart- 
wright  or  Travers,  who  diffented  upon  principle,  and  appear  both,  to  have  been  very 
learned  and  pious  men.  Thefe  men  were  the  nrft  of  thofe  who  oppofed  the  liturgy,  and 
were  the  occafion  of  thofe  admirable  arguments  of  Hooker  in  defence  of  church-mufic, 

which  here  follow.  .    ,.  ,        ,  r 

There  is  a  paiTage  in  one  of  Howel's  letters  which  feems  to  indicate  that  the  tenets  oi 
Brown  were  grown  very  odious  at  the  time  when  the  former  wrote,  which  for  the  fingu- 
larity  of  it  take  in  his  owa  '•^  ords.  1      zi    ■ 

'  Difference  in  opinion  may  work  a  difaffedion  in  me,  but  not  a  deteltation  ;  1  ra- 
'  ther  pitty  than  hate  Turk  or  Infidell,  for  they  are  of  the  fame  metall,  and  bear  the  fame 
'  ftamp  as  I  do,  though  the  infcriptlons  differ :  if  I  hate  any  it  is  thofe  fchilmatics  that 
«  puzzle  the  fweet  peace  of  our  church,  fo  that  I  could  be  content  to  fee  an  Anabaptift  go 
'  to  hell  on  a  Brownift's  back.'    Familiar  Letters  of  James  Howel,  1678,  vol.  L  i<i€t.b. 

Letter  xyniL  To  Six  Ed.  B.  Knt, 

the- 


c 
< 
< 
'  ance 


494  HISTORY    OF    THE    SCIENCE     Book IV. 

the  learned  and  excellent  Hooker,  who  at  that  time  was  Mafter  of 
the  Temple. 

In  the  Eeclefiaflical  Polity,  the  objedtions  of  Cartwright  and  his 
adherents  againft  the  dodtrine  and  difcipline  of  the  eftablifoed  church, 
are  occafionally  inferted  in  the  margin  of  the  book,  but,  which 
feems  a  ftrange  omiffion  in  the  publifhers  of  it,  without  any  reference 
to  the  particular  book  of  Cartwright,  to  which  it  was  an  anfwer,  or 
any  intimation  that  he  was  the  oppugner  of  Cartwright,  other  than 
the  letters  T.  C.  the  initials  of  his  Chriftian  and  furname^  which  are 
added  to  the  feveral  paflages  cited  by  Hooker. 

The  objecftions  againft  fmging  in  general,  and  alfo  againft  anti- 
phonal  finging,  are  to  this  purpofe  :   *  From  whencefoever  the  prac- 

*  tice  [of  antiphonal  finging]  came,  it  cannot  be  good,  confidering 

*  that  when  it  is  granted  that  it  is  lawful!  for  all  the  people  to  praife 

*  God  by  finging  the  Pfalms  of  David,  this  ought  not  to  be  refi:rain- 

*  ed  to  thofe  few  of  the  congregation  who  are  retained  in  the  fervice 

*  of  the  church  for  the  fole  purpofe  of  finging  ;  and  where  it  is  law- 

*  full  both  with  heart  and  voice  to  fing  the  whole  pfalm,  there  it  is 

*  not  meet  that  they  (hould  fing  but  the  one  half  with  their  heart  and 

*  voice,  and  the  other  with  their  heart  only.  For  where  they  may  both 
<  with  heart  and  voice  fing,  there  the  heart  is  not  enough  ;  and  there- 

*  fore,  befides  the  incommoding  which  cometh  this  way,  in  that  be- 

*  ing   tofied   after  this  fort,  men  cannot  underftand  what  is  fung  -, 

*  thofe  other  two  inconveniencies  come  of  this  form  of  finging,  and 

*  therefore  it  is  banifiied  in  all  reformed  churches.     And  elfewhere, 

*  The  finging  of  pfalms  by  courfe,  and  fide  after  fide,  although  it  be 

*  very  ancient,  yet  it  is  not  commendable,  and  is  fo  much  the  more 

*  to   be  fufpeded,  for  that   the  Devil   hath  gone  about  to  get  it  fo 

*  great  authority,  partly  by  deriving  it  from  Ignatius  time,  and  part- 
'  ly  in  making  the  world  believe  that   this  came  from  heaven,  and 

*  that  the  angels  were  heard  to  fing  after  this  fort,  which  as  it  is  a 

*  mere  fable,  fo   is   it  confuted   by  hifi:oriographers,  whereof  fome 

*  afcribe  the  beginning  of  this  to  Damafus,   fome  other  unto  Flavia- 

*  nus  and  Diodorus.' 

Thefe  are  the  principal  arguments  brought  in  proof  of  the  unlaw- 
fulnefs  and  impropriety  of  choral  and  antiphonal  finging  in  the  wor- 
ship of  God  ;  in  anfv/er  to  which  it  may  be  faid,  that  its  lawfulneO, 

pro- 


Chap.  7.       AND    PRACTICE    OF    iMUSIC,  495, 

propriety,  and  conducivenefs  to  the  ends  of  edification,  have  been  af- 
ferted  by  a  great  number  of  men,  each  as  fitly  qualified  to  determine 
on  a  fubjedl  of  this  nature  as  the  ablefl  of  their  opponents.  But  the 
merits  of  the  controverfy  will  befl  appear  from  that  defence  of  the 
practice  in  quefllon  contained  in  the  Eccleiiaftical  Polity,  of  our  coun- 
tryman Hooker,  who  with  his  ufual  temper,  learning,  eloquence^ 
and  fagacity,  has  exhibited  firfl  a  very  fine  eulogium  on  muficitfelf,. 
and  afterwards  a  defence  of  that  particular  application  of  it  to  divine 
fervice,  which  our  national  church  had  recognized,  and  which  it 
concerned  him  to  vindicate. 

And  firfl  as  to  mufic  in  general,  and  its  efficacy  in  the  exciting  of 
devout  afFecftion?,  he  ufes  thefe  words : 

•  Touching  mufical  harmony,  whether  by  inftrument  or  by  voice,. 

*  it  being  but  of  high  and  low  in  founds,  a  due  proportionable  difpo- 

*  iition,   fuch  notwithftanding  is  the  force  thereof,  and  fo  pleafing 

*  efFe(fls  it  hath  in  that  very  part  of  man  which  is  mofl  divine,  that 

*  fome  have  been  thereby  induced  to  think  that  the  foul  itfelf  by  na- 

*  ture  is,  or  hath  in  it  harmony.     A  thing  which  delighteth  all  ages,. 

*  and  befeemeth  all  flates;  a  thing  as  feafonable  in  grief  as  in  joy ;  as 

*  decent,  being  added  unto  anions  of  greateft  weight  and  folemnity, 
«  as  being  ufed  when  men  moft  fequefter  themfekes  from  a<ftion  :  the 
*■  reafon  hereof  is  an  admirable  facility  which  mufic  hath  to  exprefs 

*  and  reprefent  to  the  mind  more  inwardly  than  any  other  fenfible 

*  mean,  the  very  flanding,  rifmg,   and  falling,  the  very  fteps  and  in- 

*  fiexions  every  way,  the  turns  and  varieties  of  all   paflions  where- 

*  unto  the  mind  is  fubje^l  f  yea,  fo  to  imitate  them,  that  whether  it 

*  refemble  unto  us  the  fame  Aate  wherein  our  minds  already  are,  or  a 

*  clean  contrary,  we  are  not  more  contentedly  by  the  one  confirmed, 
'  than  changed  and  led  away  by  the  other.     In  harmony  the  very 

*  image  and  character  even  of  virtue  and  vice  is  perceived,  the  mind 

*  delighted  with  their  refemblances,  and  brought,    by  having  theni 

*  often  iterated,  into   a  love   of  the   things    themfelves  -,  for   which 

*  caufe  there  is  nothing  more  contagious  and  peflilent  than  fome 
^  kinds  of  harmony,  than  fome  nothing  more  flrong  and  potent  unto 

*  good.     And  that  there  is  fuch  a  difference  of  one  kind  from  an- 

*  other  we  need  no  proof  but  our  own  experience,  inafmuch  as  we 
*•  are  at  the  hearing  of  fome  more  inclined  unto  forrow  and  heavinefs,. 

«o£ 


496  HISTORY    OF    THE    SCIENCE       Book  IV. 

*  of  fome   more  mollified  and  foftened  in  mind  ;  one  kind  apter  to 

*  ftay  and  fettle  us,  another  to  move  and   ftir  our  afFedions.     There 
<  is  that  draweth  to  a  marvellous  grave  and  fober  mediocrity  ;  there 

*  is  alfo  that  carrieth  as  it  were  into  extafies,  filling  the  mind  with  an 

*  heavenly  joy,    and   for  the  time  in   a  manner  fevering  it  from  the 

*  body.     So  that  although  we  lay  altogether  afide   the   confideration 

*  of  ditty  or  matter,  the  very  harmony  of  founds  being  framed  in  due 

*  fort,  and  carried  from  the  ear  to  the  fpiritual  faculties  of  our  fouls, 

*  is,  by  a  native  puiflance  and  efficacy,  greatly  available  to  bring  to  a 

*  perfedl  temper  whatfoeveris  there  troubled  -,  apt  as  well  to  quicken 

*  the  fpirits,  as  to  allay  that  which  is  too  eager  i  fovereign  againft  me- 

*  lancholy  and  defpair  ;  forceable  to  draw  forth  tears  of  devotion,  if 

*  the  mind  be  fuch  as  can  yield  them  ;  able  both  to  move  and  to  mo- 

*  derate  all  afl?e(ftions.     The  prophet  David  having  therefore  fingular 

*  knowledge,  not  in  poetry  alone,  but  in  mufic  alfo,  judged  them  both 

*  to  be  things  moft  necefifary  for  the  houfe  of  God,  left  behind  him  to 

*  that  purpofe  a  number  of  divinely  indited  poems  j  and  was  farther 

*  the  author  of  adding  unto  poetry,  melody  in  public  prayer,   melo- 

*  dy  both  vocal  and  inflrumental  for  the  raifing  up  of  mens  hearts, 

*  and  the  fweetning  of  their  affedions  towards  God.     In  which  con- 

*  fiderations  the  church  of  Chrift  doth  likewife  at  this  prefent  day 

*  retain  it  as  an  ornament  to  God's  fervice,  and  an  help  to  our  own 

*  devotion.     They  which,  under  pretence  of  the  law  ceremonial  ab- 

*  rogated,  require   the  abrogation  of  inflrumental  mufic,  approving 

*  neverthelefs  the  ufe  of  vocal  melody  to  remain,   muft  ihew  fome 

*  reafon  wherefore  the  one  fliould  be  thought  a  legal  ceremony  and 

*  not  the  other.     In  church  mufic  curiofity  and  oflentation  of  art, 

*  wanton,  or  light,  or  unfuitable  harmony,  fuch  as  only  pleafeth  the 

*  ear,  and   doth    not  naturally  ferve  to  the  very  kind  and  degree  of 

*  thofe  imprcfllons,  which  the  matter  that  goeth  with  it  leaveth  or  is 

*  apt  to  leave  in  mens  minds,  doth  rather  blemifh  and  difgrace  that 

*  we  do,  then  add  either  beauty  or  furtherance  unto  it.    On  the  other 

*  fide,  thefe  faults   prevented,  the  force  and  efficacy  of  the  thing  it- 

*  felf,  when  it  drowneth  not  utterly,  but  fitly  fuiteth  with  matter  al- 

*  together  founding  to  the  praife  of  God,  is  in  truth  moft  admirable, 

*  and  doth  much  edifie,  if  not  the  underftanding,  becaufe  it  teacheth 

*  not,  yet   furely  the  aifedion,   becaufe   therein  it  worketh  much. 

'  They 


Ch?p.  8.      AND    PRACTICE    OF    MUSIC.  497 

They  muft  have  hearts  very  dry  and  tough,  from  whom  the  melody 
'  of  the  pfalms  doth  not  fome  time  draw  that  wherein  a  mind  reli- 

*  gioufly  afFeded,  delighteth*.' 

And  to  the  objedion  againft  antiphonal  finging,  <  that  the  Devil 

*  hath  gone  about  to  get  it  authority,'  he  thus  anfwers  : 

*  Whofoever  were  the  author,  whatfoever  the  time,  whencefoever 

*  the  example  of  beginning  this  cuflome  in  the  church  of  Chrift  j  fith 

*  we  are  wont  to  fufpedt  things  only  before  tryal,  and  afterwards  ei- 

*  ther  to  approve  them  as  good,  or  if  we  find  them  evil,  accordingly 
«  to  judge  of  them  j  their  counfel  mufl  need  feem  very  unfeafonable, 

<  who  advife  men  now  to  fufpedt  that  wherewith  the  world  hath  had 

*  by  their  own  account,  twelve  hundred  years  acquaintance  and  up- 

<  wards  J  enough  to  take  away  fufpicion  and  jealoufie.     Men  know 

*  by  this  time,  if  ever  they  will  know,  whether  it  be  good  or  evil 

*  which  hath  been  fo  long  retained.     As  for  the  Devil,  which  way  it 

*  fliould  greatly  benefit  him  to  have  this  manner  of  finging  pfalms  ac- 

*  counted  an  invention  of  Ignatius,  or  an  imitation  of  the  angels  of 

*  heaven,  we  do  not  well  underftand.     But  we  very  well  fee  in  them 

<  who  thus  plead,  a  wonderful  celerity  of  difcourfe.     For  perceiving 

*  at  the  firft,  but  only  fome  caufe  of  fufpicion,  and  fear  leaft  it  fliould 
«  be  evil,  they  are  prefently  in  one  and  the  felf  fame  breath  refolved 

*  that  what  beginning  foever  it   had,  there  is  no  poffibility  it  fhould 

*  be  good.  The  potent  arguments  which  did  thus  fuddenly  break  in 
«  upon  and  overcome  them,  are  Firft,  that  it  is  not  unlawful  for  the 
'people,   all  jointly  to  praife  God  in  finging  of  pfalms.     Secondly, 

*  that  they  are  not  any  where  forbidden  by  the  law  of  God  to  fing 
«  every  verfe  of  the  whole  pfalm  both  with  heart  and  voice  quite  and 

*  clean  throughout.     Thirdly,  that  it  cannot  be  underftood  what  is 

*  fung  after  our  manner.    Of  which  three,  forafmuch  as  lawfulnefs  to 

*  fing  one  way,  proveth  not  another  way  inconvenient ;  the  former  two 

*  are  true  allegations,  but  they  lack  firenglh  to  accompli(h  their  defire  ; 
«  the  third  fo  firong  that  it  might  perfuade  if  the  truth  thereof  were 

*  not  doubtful.     And  (hall  this  enforce  us  to  banifli  a  thing  which  all 

*  Chrifi:ian  churches  in  the  world  have  received  ?   a  thing  which  fo 

*  many  ages  have  held  -,  a  thing  which  the  mofi:  approved  councils 

*  and  laws  have  fo  oftentimes   ratified  -,  a   thing   which   was  never 

*  found  to  have  any  inconvenience  in  it;  a  thing  which  always  here- 

*  Eccl.  Polity,  bookV.  fed.  38. 

Vol.  III.  Zzz  '  *  to  fore 


498  HISTORY    OF    THE    SCIENCE     Book IV. 

*  tofore  the  beft  men  and  wifeft  governours  of  God's  people  did  think 

*  they  never   could  commend  enough  j  a  thing  which  as  Bafil  was 

*  perfuadcd  did  both  ftrengthen  the  meditation  of  thofe  holy  words 

*  which  are  uttered  in  that  fort,  and  ferve  alfoto  make  attentive,  and 

*  to  raife  up  the  hearts  of  men  j  a  thing  whereunto  God's  people  of 

*  old  did  refort  with  hope  and  thiril  j  that  thereby,  efpecially  their 

*  fouls  might  be  edified  j  a  thing  which  fiUeth  the  mind  with  com- 

*  fort  and  heavenly  delight,  ftirreth  up  fragrant  defires  and  affedions 

*  correfpondent   unto  that  which   the   words   contain ;  allayeth   all 

*  kind  of  bafe  and  earthly  cogitations,  banifheth  and   driveth  away 

*  thofe  evil  fecret  fuggeftions  which  our  invifible  enemy  is  always  apt 

*  to  minifter,  watereth  the  heart  to  the  end  that  it  may  fructify, 

*  maketh  the  virtuous,  in  trouble  full  of  magnanimity  and  courage, 

*  ferveth  as  amoft  approved  remedy  againft  all  doleful  and  heavy  ac- 
«  cidents  which  befall  men  in  this  prefent  life.     To  conclude,  fo  fitly 

*  accordeth  with  the  apoflle's  own  exhortation,  **  Speak  to  yourfelves 
••  in  pfalms  and  hymns  and  fpiritual  fongs,  making  melody  and  finging 
*•  to  the  Lord  in  your  hearts  j"  that  furely  there  is  more  caufe  to  fear 
<  left  the  want  thereof  be  a  maim,  than  the  ufe  a  blemifh  to  the  fer- 

*  vice  of  God  *.' 

As  to  the  merits  of  this  controverfy,  every  one  is  at  liberty  to  judge  5 
and  if  any  fhall  doubt  of  the  lawfulnefs  and  expediency  of  choral  mu- 
fie  after  confidering  the  arguments  on  both  fides,  there  is  Ijttle  hop& 
of  their  being  reconciled  to  it  till  an  abler  advocate  than  Hooker  fi-iall- 
arife  in  its  defence. 

Theform  and  manner  of  divine  fervice  being  thus  far  adjufted,  an  efta» 
bliflimcnt  of  a  chapel  feemed  to  follow  as  a  matter  of  courfe,  the  fet- 
tlement  whereof  was  attended  with  but  very  little  difficulty.  As  thofe 
gentlemen  of  the  chapel  who  had  ferved  under  Edward  VI.  conti- 
nued in  their  ftations  notwithftanding  the  revival  of  the  mafs,  fo- 
when  the  Romifh  fervice  was  abrogated,  and  the  Englifh  liturgy  re- 
ftored,  they  manifefted  a  difpofition  to  fubmit  to  thofe  who  feemed  to 
be  better  judges  of  religious  matters  than  themfelves ;  and  notwith- 
flanding  that  in  the  time  of  queen  Mary  all  perfons  engaged  in  the 
chapel  fervice  muft,  at  leaft  in  appearance,  have  been  papiits,  we  find 
Kot  that  any  of  them  objeded  to  the  reformed  fervice :  this  at  leaft  is 
certain,  that  bothTaliis  and  Bird,  the  former  of  whom  had  fet  the  rnu- 
iic  to  many  Latin  motets,  and  the  latter  made  fundry  mafTes  and  other 

CQCQ--- 
*■  £cd.  Polity.,  bookV.  fed'  39,', 


Chap.  9.       AND    PRACTICE    OF    MUSIC.  499 

compofitlons  for  queen  Mary*s  chapel,  continued  in  the  fervice  of 
Elizabeth,  the  one  till  the  time  of  his  death,  and  the  other  during 
the  whole  of  her  reign,  and  the  greater  part  of  that  of  her  fucceflbr, 
he  dying  in  1623. 

For  the  flate  of  queen  Elizabeth's  chapel  we  are  In  a  great  meafure 
to  feek :  it  is  certain  that  Tallis  and  Bird  were  organifts  of  it,  and 
that  Richard  Bowyer  was  upon  her  acceffion  to  the  crown  continued 
one  of  the  gentlemen  of  her  chapel,  who  dying,  Richard  Edwards 
was  appointed  mafter  of  the  children.  This  perfon,  who  has  been 
mentioned  in  a  former  part  of  this  work,  was  a  native  of  Somerfet* 
/hire,  and  a  fcholar  of  Corpus  Chrifti  college  in  Oxford,  under  George 
Etheridge,  and  at  the  time  of  its  foundation  was  made  fenior  ftudent 
of  Chrift  Church  college,  being  then  twenty-four  years  of  age. 
Wood,  in  the  Athen.  Oxon.  has  given  a  curious  account  of  the  re* 
prefentation  of  a  comedy  of  his  writing,  entitled  Palemon  and  Arcite, 
before  queen  Elizabeth,  in  the  hall  of  Chrift  Church  college,  and  of 
the  queen's  behaviour  on  the  occafion,  Edwards  died  on  the  thirty-firft 
day  of  Odober,  1596  ;  and  the  fifteenth  of  November  in  the  fame  year 
.William  Hunnis,  a  gentleman  of  the  chapel,  and  who  had  been  in 
that  ftation  during  the  two  preceding  reigns,  was  appointed  his  fuc- 
cefTor  ;  this  perfon  died  on  the  fixth  day  of  June  1597,  and  was  fuc- 
ceeded  by  Dr.  Nathaniel  Giles,  of  whom  an  account  will  here- 
after be  given. 

CHAP.         IX. 

IT  will  now  be  thought  time  to  enquire  into  the  rife  and  progrefs 
of  pfalmody  in  England  ;  nor  will  it  be  faid  that  we  v/ere  very 
remifs  when  it  is  known  how  ibort  the  interval  was,  between  the 
publication  of  the  French  verlion  and  ours  by  Sternhold  and  Hopkins, 
who  as  having  been  fellow-labourers  in  this  work  of  reformation,  are 
fo  yoked  together,  that  hardly  any  one  mentions  them  afunder. 

Thomas  Sternhold  is  faid  to  have  been  a  native  of  Hampfhire. 
Where  he  received  the  rudiments  of  literature  is  not  known,  but 
Wood  fays  that  he  relided  fome  time  in  the  univerfity  of  Oxford,  and 
that  he  left  it  without  the  honour  of  a  degree.  By  fome  intereft  that 
he  had  at  court,  he  was  preferred  to  the  office  of  groom  of  the  robes 
to  Henry  VIII.  which  he  difcharged  fo  well,  that  he  became  a  per- 

Z  z  z  2  *  fonal 


500  HISTORY    OF    TtfET   SCIENCE      Book  I V^. 

fonal  favourite  of  the  king,  who  by  his  will  left  him  a  legacy  of  an 
hundred  marks.  Upon  the  deceafe  of  the  king,  Sternhold  was  con- 
tinued in  the  fame  employment  by  his  facceffor,  ^  and  having  leifure 
to  purfue  his  ftudies,  he  acquired  fome  degree  of  efteem  about  the: 
court  for  his  vein  in  poetry  and  other  trivial  learning.  He  was  a  man 
of  a  very  religious  turn  of  mind,  in  his  morals  irreproachable,  and 
an  adherent  to  the  principles  of  the  reformation,  and  being  offended 
with  the  amorous  and  immodefl  fongs,  which  were  then  the  ufual 
entertainment  of  perfons  about  the  court,  he  undertook  to  tranilats 
the  Pfalms  of  David  into  Englifh  metre,  but  he  died  without  com^ 
pleting  the  work.  His  will  was  proved  the  twelfth  day  of  September,, 
anno  1 549 ;  he  is  therein  ftyled  Groom  of  his  Majefty's  robes,  and: 
it  thereby  appears  that  he  died  feifed  of  lands  to  a  confiderable  value 
in  Hampfhire  and  in  the  county  of  Cornwall. 

Fifty-one  of  the  Pfalms  were  all  that  Sternhold  lived  to  verfify,  and 
thefe  were  firft  printed  by  Edward  Whitchurch,  and  published  anno 
1549,  with  the  following  title,  *  All  fuch  Pfalmes  of  David  as  Thomas 

*  Sternholde,  late  grome  of  the  kinges  majeftyes  robes  did  in  his  lyfe-. 

*  tyme  drawe  into  Englydie  metre.'  The  book  is  dedicated.to  king 
Edward  VI.  by  the  author,  and  was  therefore  probably  prepared  by 
him  for  the  prefs.  Wood  is  miftaken  in  faying  that  Sternhold  caufed 
mufical  notes  to  be  fet  to  his  Pfalms;  they  were  publifhed  in  1549 
and  1552,  without  notes  ;  and  the  firfl  edition  of  the  Pfalms  with 
notes  is  that  of  1562,   mentioned  hereafter*. 

Ames  takes  notice  of  another  work  of  the. fame  author,  entitled; 

*  Certayne  chapters  of  the  Prouerbs  of  Solomon  drawen  into  metre ;'/ 
this  alfo  was  a  poflhumous  publication,  it  being  printed  anno.i55ij, 
two  years  after  Sternhold's  deceafe  -f-. 

*  It  IS  worthy  of  remark  that  both  in  France  and  England  the  Pfahns  were  firfl  tranf-~ 
lated  into  vulgar  metre  by  laymen,  and,  which  is  very  fingular,  by  courtiers.  Marot  was 
of  the  bed-chamber  to  Francis  I  and  Sternhold  groom  of  the  robes  to  Henry  YllI  and 
Edward  VI ;  their  refpeiSlive  tranflations  were  not  completed  by  themCelves,  and  yet  they 
tranflated  nearly  an  equal  number  of  pfalms,  that  is  to  fay,  Marot  fifty,  and  Sternhold 
fifty-one. 

f  In  the  fame  year  was  publiflied  *  Certain  Ffalmes  chofen  out  of  the  Pfrdmes  of  Da- 

*  uid,  commonly  called  viipcnytentiall  Pfalmes,  drawen  into  Englyfhe  meter  by  SirTho- 
♦mas  VVyat,  Knyght,  whereunto  is  added  a  prologe  of  the  auclore  before  euery  Pfalme, 

*  very   pleafant  and  profettable  to  the  godly  reader.     Imprinted  at  London,   in  Paulea 

*  churchyarde,  at  the  fygne  of  the  Starre,  by  Thomas  Raynald   and  John   Harryngton, 

*  cum  preuilegio  ad  imprimendum  folum,  MD  XLIX,     Thelaft  day  of  December.' 


Chap.  9^       AND    PRACTICE    OF    MUSIC.  50^ 

Contemporary  with  Sternhold  was  John  Hopkins,  origin:i]ly  a 
ichool-mafter,  a  man  rather  more  efteemed  for  his  poetical  talents 
than  his  coadjutor  :  he  turned  into  metre  fifty-eight  of  the  Pfalms,. 
which  are  diftinguifhed  by  the  initial  letters  of  his  name.  Bishop  Tan- 
ner ftylcs  him,  *  Poeta,  ut  ea  ferebant  tempora,  eximius ;'  and  at  the 
end  of  the  Latin  commendatory  verfes  prefixed  to  Fox's  A6ts  and 
Monuments,  are  fome  ftanzas  of  his  that  fully  juftify  this  charader. 

William  Whittyngham  had  alfo  a  hand  in  this  verfion  of  the 
Pfalms ;  he  was  a  man  of  great  learning,  and  one  of  thofe  Englifli 
divines  that  refided  abroad  during  the  perfecution  under  queen  Mary  >. 
preferring  the  order  and  difcipline  of  the  Genevan  church  to  that  of 
Francfort,  whither  he  firjl:  fied  ;  he  chofe  the  latter  city  for  the 
place  of  his  abode,  and  became  a  favourite  of  Calvin,  from  whom 
he  received  ordination.  He  affifted  in  the  tranflation  of  the  Bible  by 
Coverdale,  Goodman  and  others,  and  tranflated  into  EngliHi  metre 
thofe  Pfalms,,  in  number  only  five,  which  in  our  verfion  bear  the 
initials  of  his  name  ;  among  thefe  is  the  hundred  and  nineteenth, 
which  is  full  as  long  as  twenty  of  the  others.  He  alfo  verfified  the 
Decalogue,  and  the  prayer  immediately  after  it,  and  very  probably 
the  Lord's  Prayer,  the  Creed,,  and  the  hymn  Veni  Creator,  all  which 
follow  the  finging  pfalms  in  our  verfion.  He  was  afterwards,  by 
the  favour  of  Robert  earl  of  Leicefter,  promoted  to  the  deanery  of 
Durham  ;  and  might,  if  he  had  made  the  befi:  of  his  intereft,  have 
fucceeded  Sir  William  Cecil,  afterwards  Lord  Burleigh,  in  the  em- 
ployment of  fecretary  of  ftate.  Wood,  who  has  raked  together 
many  particulars  concerning  him,  relates  that  he  caufed  the  image 
of  St.  Cuthbert,  in  the  cathedral  church  of  Durham,  to  be  broke  to 
pieces,  and  that  he  defaced  many  ancient  monuments  in  that 
church  *. 

The  letter  N.  is  alfo  prefixed  to  twenty-feven  of  the  Pfalms  in  our 
Englifli  verfion  ;  this  is  intended  to  denote  Thomas  Norton,  of  Shar- 
penhoe  in  Bedfordshire,  a  barrifter,  and,  in  Wood's  phrafe,  a  for- 
ward and  bufy  Calvinifi;  in  the  beginning  of  queen  Elizabeth's  reign,. 

And  in  1550,  *  CerfaynePfalmes  chofen  out  of  the  Pfalter  of  Dauid,  and  drawen  furth 
•into  Englyfh  meter  by  William  Hunnis,  feruant  to  the  ryght  honorable  Syr  Willyam 
*Harberde,  knight.  Newly  collected  and  imprinted.  Imprynted  at  London  in  Alderfgate 
'-  ftrete,  by  the  wydowe  of  John  Herforde  for  Jhon  Harrington,  the  yeare  of  our  Lord 
*  M  D  and  L.     Cum  priuilegio  ad  imprimendum  folum.' 

*  Athen.  Oxon.  col.  195. 

£L;maa. 


502  niSTORY    OF    THE    SCIENCE     Book  IV. 

a  man  then  accounted  eminent  for  his  poetry  and  making  of  trage- 
dies. Of  his  merit  in  which  kind  of  writing  he  has  left  us  no  proofs 
excepting  the  three  firft  acfls  of  a  tragedy,  at  firft  printed  with  the 
title  of  Fe'rrex  and  Porrex,  but  better  known  by  that  of  Gorbuduc, 
which  it  now  bears,  the  latter  two  ads  whereof  were  written  by 
Thomas  Sackville,  lord  Buckhurfl:  earl  of  Dorfet,  lord  high  treafuret 
in  the  reign  of  James  I.  and  the  founder  of  the  prefent  Dorfet  family. 
This  performance  is  highly  commended  by  Sir  Philip  Sidney  in  his 
Defence  of  Poefy,  and  is  too  well  known  to  need  a  more  particular 
charader. 

Robert  Wifdome  tranfiated  into  metre  the  twenty-fifth  pfalm,  and 
wrote  alfo  that  prayer  in  metre  at  the  end  of  our  verfion,  the  firfl 
flanza  whereof  is, 

•  Preferve  us  Lord  by  thy  dear  word, 

*  From  Pope  and  Turk  defend  us  Lord, 

*  Which  both  would  thruft  out  of  his  throne 

*  Our  Lord  Jefus  Chrift  thy  deare  fon.' 

For  which  he  has  been  ridiculed  by  the  facetious  bifliop  Corbet  and 
others,  though  Wood  gives  him  the  charader  of  a  good  Latin  and  Englifli 
poet  for  his  time.  He  adds,  that  he  had  been  in  exile  in  queen  Mary's 
reign  -,  that  he  was  redor  of  Settrington  in  Yorkfhire  ,  and  alfo  arch- 
deacon of  Ely,  and  had  been  nominated  to  a  birtioprick  in  Ireland, 
temp.  Edward  VI.  and  that  he  died  1568. 

The  70,  104,  112,  113,  122,  125,  and  134  Pfalmsare  diftinguifh- 
ed  by  the  initials  W.  K.  and  the  J36  by  T.  C.  of  neither  of  thefe 
authors  can  any  account  be  found. 

The  firft  publication  of  a  complete  verfion  of  the  Pfalms  was  by 
John  Day,  in  1562,  it  bears  this  title  :  *  The  whole  booke  of  Pfalmes, 

*  colleded  into  Englidi  metre  by  T.  Sternhold,  J.  Hopkins,  and 
«  others,  conferred  with  the  Ebrue  ;  with  apt  notes  to  fing  them 
«  withall  *.' 

*  Another  verfion  of  the  Pfalms,  and  that  a  complete  one,  but  very  little  known,  is 
extant,  the  work  of  archbifliop  Parker  during  his  exile.  In  the  diary  of  that  prelate  printed 
from  his  own  manufcript,  in  Strype's  life  of  archbifhop  Parker  is  the  following  memoran- 
dum :  '  And  ftill  this  6  Aug.  [his  birth  day]  An.  Dom.  1557)  I  perfifi:  in  the  fame  con- 

*  flancy  upholden   by  the  grace  and  goodnefs  of  my  Lord  and  Saviour  Jefus  Chrifb,  by 

*  whofe  infpiration  I  have  finiftied  the  book  of  Pfalms  turned  into  vulgar  verfe.' 

Strype  fays,  '  What  became  of  the  Pfalms  1  know  not  ,*  neverthelefs  it  feems  that  they 
were  printed,  and  that  with  the  following  title  :  *  The  whole  Pfalter  tranfiated  into  Eng- 

*  lifh  Metre,  which  contayneth  an  hundreth  and  fifty  Pfalmes.     *'  Quoniam  omnis  terre 

*  Deus :  Pfallite  fapienter — Pfal.  47.     Imprinted  at  London  by  John  Daye  dwelling  ouer 

*  Alderfgate 


Chap.  9.       AND    PRACTICE    OF    MUSIC.  505 

Notwithftanding    fome  of  thefe   perfons  are  celebrated  for  their 
learning,  it  is   to   be   prefumed   that  they  followed  the  method  of 

<  Alderfgate  beneath  S.  Martyn's.'  without  a  date.  In  a  copy  of  this  book,  very  richly 
bound,  which  was  bought  at  the  fale  of  the  late  Mr.  Weft's  library,  is  a  memorandum  on 
a  fpare  leaf  in  the  hand-writing  of  Dr.  White  Kennet,  bithop  of  Peterborough,  purporting 
that  the  archbilhop  printed  his  book  of  Pfalms,  and  that  though  he  forbore  to  publifh 
it  with  his  name,  he  fulFered  his  wife  to  prefent  the  book  fairly  bound  to  feveral  of  the 
nobility  -,  Dr.  Kennet  therefore  conje£lures  that  the  very  book  in  which  this  memorandum 
is  made,  is  one  of  the  copies  fo  prefented  ;  and  gives  for  a  reafon  that  he  himfelf  prefented 
a  like  copy  to  the  wife  of  archbilhop  Wake,  wherein  Margaret  Parker  in  her  own  name 
and  hand  dedicates  the  book  to  a  noble  lady.     Signed  Wh.  Peterb. 

After  the  preface,  which  is  in  metre,  and  dire£l:s  the  finging  of  the  pfalms  diftinflly 
and  audibly,  is  a  declaration  of  the  virtue  of  pfalms  in  metre,  and  the  fe!f-fame  direclions 
from  St.  Athanafius  for  the  choice  of  pfalms  for  particular  occafions,  as  are  prefixed  to 
the  verfion  of  Sternhold  and  Hopkins,  and  the  reft,  and  at  the  conclufion  of  each  pfalm 
is  a  collect.  They  are  printed  without  mufic,  fave  that  at  the  end  are  eight  tunes  in  four 
parts,  Meane,  Contratenor,  Tenor,  and  Bafle,  which,  agreeable  to  the  pradlice  of  the 
Romifti  church,  are  compofed  in  the  eight  ecclefiaftical  tones,  the  tenor  being  the  plain- 
fong.  It  is  faid  by  Strype  that  Parker  in  the  courfe  of  his  education  had  been  inftruded 
in  the  practice  of  finging  by  two  feveral  perfons,  the  one  named  Love,  a  prieft,  the  other 
one  Manthorp,  clerk  of  St.  Stephen's  in  Norwich,  of  the  harftinefs  of  both  which  mafters 
he  felt  fo  much,  that  he  could  never  forget  it.  His  afFedion  to  mufic  in  his  mature  age 
may  be  inferred  from  the  provifion  made  by  him  in  the  foundation  of  a  fchool  in  the  college 
of  Stoke  in  the  county  of  Suffolk,  of  which  he  was  dean  ;  in  which  thefcholars,  befides 
grammar,  and  other  ftudies  of  humanity,  were  taught  to  fing  and  play  on  the  organ  and 
other  inftruments:  and  alfo  from  the  ftatutes  of  the  fame  college,  framed  by  himfelf,  the 
laft  whereof  is  in  thefe  words  :  '  Item,  to  be  found  in  the  college  henceforth  a  number  of 
'  querifters,  to  the  number  of  eight  or  ten  or  more,  as  may  be  born  conveniently  of  the 
'  ftock,  to  have  fufticient  meat,  drink,  broth,  and  learning.  Of  which  faid  querifters, 
«  after  their  breafts  be  changed,  we  will  the  moft  apt  of  wit  and  capacity  be  helpen  with 

*  exhibition  of  forty  ftiillings,  four  marks,  or  three  pounds  a-piece  to  be  ftudents  in  fome 

*  college  in  Cambridge.     The  exhibition  to  be  enjoyed  but  fix  years.' 

And  that  he  had  fome  flcill  in  mufic  appears  by  the  following  chuiaderiftic  of  the  eccle- 
fiaftical tones,  prefixed  to  the  eight  tunes  abovementioned. 

^gc  nature  of  tf^t  c^^i)t  timc^. 

1 .  i^fic  ficft  i^  mtcht :  ticuoiit  to  fee, 

2.  i^it  feeonb  fab  :  in  maieftp. 

3.  €6e  tljiriy  tiotfl  rage :  anti  rougldip  htapt% 

4.  €()e  foiirtfi  tiotfi  fatonc :  anti  ffartrp  piaptj), 

5.  eie  fiftl^  Ueligtfi :  anb  laugbcrl)  fljc  more, 

6.  €^t  firt  fidnapicttj :  it  itJcipet^  fuU  fore, 

7.  <jrijc  feaentfj  treDetlj  ftoitte :  in  frotoarti  race 

8.  €|)e  epgljte  joett)  miibe  :  in  mobef!  pace. 

ejc  €cnor  of  tljcfe  v^vu^  fie  for  tljc  people  toljnt  tfiep  tDiH  fpng^ 
alone,  tt^t  otljcr  parted  put  for  t!ic  greater  queers,  or  to  fucljt 
a^  toiU  fpng  or  plap  tijcm  priuatclp. 

Tt  is  conjeftured  that  the  Pfalms  thus  tranflated,  with  tunes  adapted  to  them,   were  in- 
teiuled  by  the  author  to  be  fung.in  cathedrals,  for  at  the  time  when  ihey  were  turned  into- 


504  HISTORY    OF    THE    SCIENCE       BooklV. 

Marot,  and  rendered  the  Hebrew  into  EngUfli  through  the  medium 
of  a  profe  tranflation  :   the  original   motive  to  this  undertaking  was 

verfe,  the  church  were  put  to  great  Ihifts,  the  compofitions  to  Englifh  words  being  at 
that  time  t©o  few  to  furiiifh  out  a  mufical  fervice  ;  and  this  is  the  more  probable 
from  the  direclions  given  by  the  archbifliop  for  linging  many  of  them  by  the  reftors 
and  the  quier  alternately.  Who  we  are  to  underlland  by  the  retftors  it  is  hard  to  fay, 
there  being  no  fuch  officer  at  this  time  in  any  cathedral  in  this  kingdom.  If  the  word 
were  of  the  fingular  number  it  might  be  interpreted  chanter,  Thefe  directions  leem  to 
indicate  that  till  fome  time  after  queen  Elizabeth's  acceffion,  the  form  and  method  of  cho- 
ral fervice  was  not  fettled,  nor  that  diftintlion  made  between  the  fingers  on  the  dean's 
fide  and  that  of  the  chanter,  which  at  this  day  is  obferved  in  all  cathedrals. 

Archbilhop  Parker's  verfion  of  the  Pfalms  may  be  deemed  a  great  typographical  curiofity, 
inafmuch  as  it  feems  to  have  never  been  publifhed,  other  wife  than  by  being  prefem^d  to 
his  friends,  it  is  therefore  not  to  be  wondered  that  it  never  fell  in  the  way  either  of  Strype, 
who  wrote  his  life,  or  of  Mr.  Ames,  that  diligent  colle£lor  of  typographical  antiquities. 
As  to  the  book  itfelf,  the  merits  of  it  may  be  judged  of  by  the  following  verfion  of  Pfalm 
xxiii.  extradled  from  it. 

Cfte  Sorb  fo  Ts:0!5tr :  iufio  ^mctf^  me  foo^ 

mji  fjepcfjcarfe  i0  anb  guitie : 
l^olt)  can  31  iJJant :  or  fufrcr  fcant 

tDpn  gc  ticfentitfj  m^  fibc. 

€o  fcctre  mp  metic  :  ^t  iDxII  mc  Icatr, 

in  pafiiuT^  grccnc  anti  fat  : 
i^e  iotti)  feroaglit  me  in  iibtvtit, 

to  it^atcri^  tieiicatc* 

a^p  foiile  anb  Ifjart :  f^  t^iti  conuert, 

to  me  ^e  fftctuetl^  tfje  patSj : 
<Bt  rig!)t  taxfcne^ :  in  fjoiine^, 

l^i^  name  fucf)  uertue  IjatJ)* 

fea  tf^ouiorli  Sf  go  :  tl^cougfi  5^cat|J  ijip^  ttao 

][)i-sf  ))aalc  anti  (fjalioto  irptie  : 
5i  fcare  no  tiart :  tDptl^  me  tljou  art, 

tDitj)  ItafP  anti  roti  to  guitre* 

CIjou  ttjalt  prouptic :  a  taMe  tdptre, 

tot  me  agapnft  tftept  ftitte : 
Witi)  opHe  mp  fieab  :  t(jou  l)afif  Deftreti, 

mp  cup  i^  fuHp  bigl^t. 

€6p  gootinef^  pet :  anti  meccp  great, 

VuiH  fecpe  me  aU  mp  trapes  : 
%n  Jjoiife  to  h\mn :  in  reft  full  tocll, 

tDptlj  45ot»  %  gope  altuapeis?, 

not 


Chap.9.       AND    PRACTICE    OF    MUSIC.  505 

not  folely  the  introduaion  of  pfalm-finging  into  the  English  pro- 
teftant  churches  ;  it  had  alfo  for  its  object  the  exciafion  of  that  rib- 
baldry  which  was  the  entertainment  of  the  common  people,  and^the 
furniOiing  them  with  fuch  fongs  as  might  not  only  tend  10  reform  their 
manners,  but  infpire  them  with  fentiments  of  devotion  and  godhnefs  ; 
and  indeed  nothing  lefs  than  this  can  be  inferred  from  that  declara- 
tlon  of  the  defign  of  fetting  them  forth,  contained  in  the  title-page 
of  our  common  verfion,  and  which  has  been  continued  in  all  the 
printed  copies  from  the  time  of  its  firft  publication  to  this  day  :  '  Set 
«  forth  and  allowed  to  be  fung  in  churches  of  the  people  together, 

*  before  and  after  evening  prayer,  as  alfo  before  and   after  fermon  ; 

*  and  moreover  in  private  houfes,  for  their  godly  folace  and  com- 

*  fort,  laying  apart  all  ungodly  fongs  and  ballads,  which   tend  only 

*  to  the  nourifhment  of  vice  and  corrupting  of  youth.' 

There  is  good  reafon  to  believe  that  the  defign  of  the  reformers  of 
our  church  was  in  a  great  meafure  anfwered  by  the  publication  of  the 
Pfalms  in  this  manner;  to  facilitate  the  ufe  of  them  they  were 
printed  *  with  apt  notes  to  fing  them  withall  *  i'  and  from  thence- 

*  To  the  earlier  impreffions  of  the  Pfalms  in  metre  was  prefixed  a  trcatlfe,  faid  to  be 
made  by  St.  Athanafius  concerning  the  ufe  and  virtues  of  the  Pfalms,  wherem,  among 
many  other,  are  the  following  diredions  for  the  choice  of  pfalms  for  particular  occafions 

"""^  K  thou  w^uldft  at  any  time  defcribe  a  blefled  man,  who  is  he,  and  what  thing  maketh 

'  '^  H  *:utuS  tl  :ti.;;.e\^.Vi^ar=:'for '..fe^Tnd  therefore  d.fireft  G^'s  ea,-es 

'  "  i;ra*J„'':h"or;ilri:g\?  gti'„T;hank.  »  Coa  for  the  p^ofpcrous  ga.he,i„g  of  chy 

<  frutes,  ufe  the  8  pfalme.  r       i.  r  i  ^« 

*  If  thou  defireft  to  know  who  is  a  citizen  of  heauen,  fing  the  i  5  pla^me. 

*  If  thine  enemies  clufter  againft  thee,  and  go  about  w.th  their  bloody  hand  to  deftroy 
'  thee,  go  not  thou  about  by  man's  helpe  to  reuenge  .t,_  for  al  "^^"^"dS'^^"^^  ^'l  "^^ 
'  truftie,  but  require  God  to  be  judge,  for  he  alone  is  judge,  and   fay  the  26,    35,  43 

'    MHhey  prefl^e  more  fiercelie  on  thee,  though  they  be  in  numbers  like  rai  armed  hoajl 
«  fear  them  not  which  thus  rejea  thee,  as  though  thou  wert  not  annomted  and  c.ca  by 

'  ?  If 'theTb^yi; ':  i^^p'uder  "that  they  lay  v^it  againfl  thee,  fo  that  it  is  not  lawfuU  for 
«  thee  to  hive  any  vocadon  by  them,   regard  them  not,  but  fing  to  God  the  48  pfalme 

'if  thou  beholdeft  fuch  as  be  bapfzed,  and  fo  deliuered  from  the  corruption  of  their 
■«  birth    praife  thou  the  bountiful!  grace  of  God,  and  fing  the  32  plalme. 
'  If  thordelighteft  to  fing  amon|(l  many,  call  together  righteous  n^n  of  godlie  life,  and 

*  ^"iVtt^ieft'hTw  wicked  men  do  much  wickedneffe,  and  that  yet  fimple  fo'ke  pra^e 

<  fuch,  when  thou  wilt  admonifii  any  man  not  to  follow  them,  to  bee  like  u.it  >  tl.m    be- 

<  caufe  they  fiiall  be  Ihortly  rooted  out  and  deftroid  :  fpeake  unto  thyfelfc  and  to  othcrs.ihe 

*  37  P^"l"'e.  ,  If 

Vol.  III.  4  ^ 


5o6  HISTORY   OF  THE   SCIENCE     BooklV. 

forth  the  pradlice  of  pfalm-finging  became  the  common  exercife  of 
fuch  devout  perfons  as  attended  to  the  exhortation  of  die  apoftle  ; 
'  if  any  was  afflided,  he  prayed  ;  if  merry,  he  fang  pfahns.* 

To  enquire  into  the  merits  of  this  our  tranflation  might  feem  an 
invidious  tafk,  were  it  not  that  the  fubjetl  has  employed  the  pens  of 
feme  very  good  judges  of  Enghfh  poefy,  whofe  fentiments  are  col- 

*  If  thou  wouldfl:  call  upon  the  blind  world  for  their  wrong  .confidence  of  their  brute 

*  facrifices,  and  (hew  them  what  facrifice  God  moft  hath  required  of  them,  fing  the  50 

*  pfalme. 

'  If  thou  haft  fufFered  falfe  accufation  before  the  king,  and  feeftthe  diuel  to  triumph 

*  thereat,  go  afide  and  fay  the  52  pfalme. 

'  If  they  which  perfecute  thee  with  accufations  would  betray  thee,  as  the  Pharrfeis  did 
'  Jefus,  and  as  the  aliens  did  Dauid,  difcomfort  not  thyfelfe  therewith,  but  fmg  in  good 

*  hope  to  God,  the  54,  69,  57  pfalmes. 

*  If  thou  wilt  rebuke  Painims  and  heretiks,  for  that  they  haue  not  the  knowledge  of 

*  God  in  them,  thou  malft  haue  an  underftanding  to  fing  to  God  the  86,  1 15  pfalms. 

'  If  thou  art  ele£l  out  of  low  degree,  efpecially  before  others  to  fome  uocation  to  ferue 

*  thy  brethren,  aduance  not  thyfelfe  too  high  againft  them  in  thine  own  power,  but  giue 

*  God  his  glorie  who  did  choofe  thee,  and  fing  thou  the  145  pfalme.* 

The  effedls  of  thefediredions  may  be  judged  of  by  the  propenfity  of  the  people,  mani-- 
fefted  in  fundry  inftances  to  the  exercife  of  pfalm-finging. 

The  Proteftants  who  fled  from  the  perfecution  of  the  duke  de  Alva  in  Flanders,  were 
moftly  woollen  manufaflurers.  Upon  their  arrival  in  England  they  fettled  in  Gloucefter- 
{hire,  Somerfetlhire,  Wiitfhire,  and  a  few  other  counties,  where  they  diftinguiflied- 
themfclves  by  their  love  of  pfalmody.  *  Would  I  were  a  weaver,*  fays  Sir  John  FalftafF,^ 
[in  Henry  IV.  part  I.  the  firft  edition]  *  I  could  fing  pfalms  or  any  thing.' 

As  the  finging  of  pfalms  fuppofes  fome  degree  of  fkill  in  mufic,  it  was  natural  for  thofe  - 
who  were  able  to  do  it  to  recreate  themfelves  with  vocal  mufic  of  another  kind  j  and  ac- 
cordingly fo  early  as  the  reign  of  James  I.  the  people  of  thefe  counties  were,  as  they  are- 
at  this  day,  expert  rn  the  finging  of  catches  and  fongs  in  parts,     Ben  Jonfon,  in  the  Silent 
Woman,  makes  Cutberd  tell  Morofe  that  the  parfon  •  caught  his  cold  by  fitting  up  late, 

*  and   finging  catches  with  Clothworkers  ;'  and  the  old  Gloucefterfliire  three  part  fong, 

*  The  ftones  that  built  George  Ridler's  oven,'  is  well  known  in  that  and  the  adjacent, 
counties. 

And  to  fpeak  of  the  common  people  in  general,  it  may  be  remembered  that  the  reading^- 
of  the  book  of  Martyrs,  and  the  finging  of  pfal  ms  were  the  exercifes  of  fuch  perfons  of  ei- 
ther fex,  as  being  advanced  in  years,  were  defirous  to  be  thought  good  chriftians  ;  and< 
ibis  not  merely  in  country  towns,  and  villages  and  hamlets,  where  a  general  fimplicity  of 
manners,  and  perhaps  the  exhortations  of  the  minifter  might  be  fupppfed  to  conduce  to  it, 
but  in  cities  and  great  towns,  and  even  in  London  itfelf ;  and  the  time  is  not  yet  out  of 
the  memory  of  a  few  perfons  now  living,  when  a  pafTenger  on  a  Sunday  evening  from  St. 
Paul's  to  Aldgate,  would  have  heard  the  families  in  moft  of  the  houfes  in  his  way  occu- 
pied in  the  finging  of  Pfalms. 

*  In  the  year  1646,  king  Charles  I.  being  in  the  hands  of  the  Scots,  a  Scotch  minifter- 

*  preached  boldly  before  the  king  at  Newcaftle,  and  after  his  fermon  called  for  the  fifty-fe- 

*  cond  pfalm,  which  begins,  "  Why  doft  thou  tyrant  boaft  thyfelf,  thy  wicked  works   to 
'•  praife."     His  majefty  thereupon  ftood  up,  and  called  for  the  fifty-fixth  pfalm,  which 

*  begins.  "  Have  mercy  Lord  on  me  1  pray,  for  men  would  me  devour."     The  people 

*  waved  the  minifter's  pfalm,  and  fung  that  which  the  king  called  for.'    Whitelocke's 
Memorials,  234. 

leded 


Ghap.  9.      AND    PRACTICE    OF    MUSIC.       -     5^7 

leded  in  a  fubfequent  page  :  it  may  here  fuffice  to  fay,  that  fo  far  as 
it  tends  to  fix  the  meaning  of  fund ry  words,  now  for  no  very  good 
reafons  become  obfolete,  or  exhibits  the  ftate  of  Enghdi  poetry  at 
the  period  when  it  was  compofed  it  is  one  of  thofe  valuable  monu- 
ments  of  literary  antiquity  which  none  but  the  fuperficially  learned 
would  be  content  to  want.  But  it  feems  thefe  confiderations  were 
not  of  force  fufficient  to  reftrain  thofe  in  authority  from  comply- 
ing with  that  humour  in  mankind  which  difpofes  them  to  change, 
though  from  better  to  the  worfe  ;  and  accordingly  fuch  alterations 
have  at  different  times  been  made  in  the  common  metrical  tranfla- 
tion  of  the  finging  Pfalms,  as  have  fruftrated  the  hopes  of  thofe  who 
wifhed  for  one  more  elegant  and  lefs  liable  to  exception. 

Thus  much  may  fuffice  for  a  general  account  of  the  introdudion 
of  pfalmody  into  this  kingdom,  and  the  effeds  it  wrought  on  the 
national  manners  ;  the  order  and  courfe  of  this  hiftory  naturally  lead 
to  an  enquiry  concerning  the  melodies  to  which  the  Pfalms  are,  and 
tifually  have  been  fung,  no  lefs  particular  than  that  already  made  with 
refpea:  to  the  French  pfalm-tunes. 

Sternhold's  Pfalms  were  firft  printed  in  the  year   1549.  and  the 
%vhole  verfion,  as  completed  by  Hopkins  and  others,  in  1562,  with 
this  title  :  *  The  whole  booke  of  Pfalmes  colleded  into  EngliOi  metre 
*  by  T.  Sternhold,  J.  Hopkins,  and  others,  conferred  with  the  Ebrue, 
^  with  apt  notes  to  fing  them  Withall.*    By  thefe  apt  notes  we  are  to  un- 
derftand  the  tunes,  to  the  number  of  about  forty,  which  are  to  be  found 
in  that  and  many  fubfequent  impreffions,  of  one  part  only,  and  in  ge- 
neral fuited  to  the  pitch  and  compafs  of  a  tenor  voice,  but  moft  ex- 
cellent  indeed  for  the  fweetnefs  and  gravity  of  their  melody  j  and  be- 
caufe  the  number  of  tunes  thus  publiOied  was  lefs  than  that  of  the 
Pfalms,  diredions  were  given  in  cafes  where  the  metre  and  general 
import  of  the  words  allowed  of  it,  to  fingfundry  of  them  to  one  tune. 

The  fame  method  was  obferved  in  the  feveral  editions  of  the  Pfalms 
publirhed  during  the  reign  of  queen  Elizabeth,  particularly  in  thofe 
of  the  years  1 564  and  i  s77>  which  it  is  to  be  remarked  are  not  coe- 
val with  any  of  the  editions  of  the  Common  Prayer,  to  which  they 
are  ufially  annexed,  for  which  no  better  reafon  can  here  be  affigned 
than  that  the  finging  pfalms  were  never  confidered  as  part  of  the  litur- 
gy ;  and  the  exclufive  privilege  of  printing  the  Common  Prayer  was 
then,  as  it  is  now,  enjoyed  by  different  perfons.  Nor  do  we  meet  with 

4  A  2  »"7 


^o8  HISTORY    OF    THE    SCIENCE       Book  IV. 

any  impreflion  of  the  Pfalms  fuited,  eitlier  in  the  type  or  fize  of  the 
volume,  to  either  of  the  impreffions  of  the  liturgy  of  Edward  the 
Sixth,  publiflied  in  1549  and  1552.  In  H^ort,  it  feems  that  the 
practice  of  publifhing  the  finging  pfalms  by  way  of  appendix  to  the 
Book  of  Common  Prayer,  had  its  rife  at  the  beginning  of  the  reign 
of  queen  Elizabeth  i  ior  in  1562  that  method  was  obferved,  and 
again  in  1564  and  1577,  but  with  fuch  circumftances  of  diverfity 
as  require  particular  notice. 

And  firft  it  is  to  be  remarked  that  in  1576,  though  by  amiftakeof 
Jugge  the  printer,  the  year  in  the  title-page  is  1676,  the  liturgy  was 
for  the  firfl  time  printed  in  a  very  fmall  odtavo  fize  j  to  this  are  an- 
nexed Pfalms  of  David  in  metre  by  Sternhold,  Hopkins,  and  others, 

*  with  apte  notes  to  fing  them  withall,'  imprinted  by  the  famous 
John  Daye,  cum  privilegio,    1577. 

The  publication  of  the  Pfalms  in  this  manner  fuppofed  that  the 
people,  at  leaft  the  better  fort  of  them,  could  read  ,-  and  by  parity 
of  reafon  it  might  be  faid  that  the  addition  of  mufical  notes  to  the 
words  implied  an  opinion  in  the  publifhers  that  they  alfo  could 
iing  ;  but  that  they  in  fadt  did  not  think  fo  at  the  time  now 
fpoken  of,  is  mofl  evident  from  the  pains  they  were  at  in  col- 
lecting together  the  general  rudiments  of  fong,  which  in  the  edi- 
tions of  1564  and  1577,  and  in  no  other,  together  with  the  fcalc 
of  mufic,  are  prefixed  by  way  of  introdudion  to  the  finging 
Pfalms.  Who  it  was  in  particular  that  drew  up  thefe  rudiments, 
is  as  little  known  as  the  authors  of  the  tunes  themfelvesj  they 
bear  the  title  of  *  A  (hort  Introduflion  into  the  Science  of  Mu- 
'  ficke,    made    for    fuch    as   are  defirous  to  have    the   knowledge 

*  thereof  for  the  finging  of  the  Pfalmes.* 

As  to  the  Introduction  into  the  Science  of  Muficke,  or,  as  it  is 
called  in  the  running  title,  *  The  introdudion  to  learnc  to  fing,'  it  is 
not  to  be  found  in  any  of  the  impreffions  of  the  Common  Prayer  fubr 
fequent  to  that  in  1577,  which  is  the  more  to  be  wondered  at,  feeing 
the  author,  whoever  he  was,  was  fo  well  perfuaded  of  its  efficacy  as 
to  afifert,  that  •  by  means  thereof  euery  man  might  in  a  few  dayes, 

*  yea  in  a  few  houres,  eafily  without  all  payne,   and  that  alfo  with- 

*  out  all   ayde  or  helpe  of  any  other  teacher,  attain   to  a  fufficient 

*  knowledge   to  finge  any  pfalme  contayned  in   the  booke,   or   any 

*  other  fuch  playne  and  eafy  fonges.'     In  which  opinion  the  event 

ihewed- 


Chip.  9      A  N  D    P  R  A  C  T  f  C  E    O  F    M  U  S  I  C.  509 

(hewed  him  to  he  grofly  njiftaken,  as  indeed,  without  the  gift  of  pro- 
phecy, niight  Ijave  been  foretold  by  any  one  who  Hiould  have  refledt- 
ed  on  the  labour  and  pains  that  are  required  to  make  any  one  a 
finger  by  notes  to  whom  the  elements  of  mufic  are  unknown  ; 
for  in  the  year  1607  there  came  out  an  edition  of  the  Pfalms  with 
the  fame  tunes  in  mufjcal  notes  as  were  contained  in  the  former, 
with  not  only  more  particular  dired:ions  for  the  fohfaing,  but  with 
the  fyliables  adually  interpofed  between  the  notes  :  this  was  in  eiFedt 
giving  up  all  hope  of  inftruding  the  people  in  the  pradice  of  fing- 
ing,  inafmuch  as  whatever  they  were  enabled  to  do  by  means  of  this 
affiftancc,  they  did  by  rote. 

Who  was  the  publilher  of  this  edition  of  1607  does  not  appear  j 
the  title  mentions  only  in  general  that  it  was  imprinted  for  the  com- 
pany of  flationers  :  the  reafons  for  annexing  the  fyliables  to  the  notes 
are  given  at  large  in  an  anonymous  preface  to  the  reader,  which  is 
as  follows  : 

'  €t)ou  (f?ait  unt?rrl!nnt!  (gentle  rcabcr)  tfiat  3  Ijaue  (fot  t^t  {iclpc  tl. 
'  t§ofe  tfjat  are  tjefirou^  to  Icarnc  to  fini^)  caufeti  a  netu  print  of  note 

*  to  he  mntic,  tDitfj  ietttt^  to  ht  jopneb  to  eucrp  note,  tngereftp  tF)ou 

*  niaiefir  HnottJ  f)oh)  to  eali  euerp  note  ftp  gi^  rijjjt  name,  fo  tfjat  toitf) 

*  a  uerp  Unit  biUgence  {a^  tfiou  art  taugfjt  in  tfje  introduction  prints 

*  cti  heretofore  in  tfje  J3^faJmci6f)  tftou  maieft  tfje  more  eafilp,  lip  t^c 

*  nietoing^of  tfiefe  lettersf,  come  to  tf)e  linotDlcbgc  of  perfect  roJfapenj: 

*  ItJltercBp  tljou  maieli  ring  tl|e  ^^Calmeisf  tje  more  fpeebiJie  anli  eafilie  : 

*  tfje  letterisf  bt  tgcfe  V  for  Vt,  R  for  Re,  M  for  Mi,  F  for  Fa,  S  for 

*  Sol,  L  for  La.    €f)UjEf  iufjere  pou  fee  anp  letter  jopneb  ftp  tjje  note, 

*  pou  map  eafilie  call  |)im  £ip  Iji-ef  riggt  name,  a^  6p  tjefe  ttoo  ejram= 

*  plc^  pou  map  tfje  better  perceibe. 


-!?.<>    -"^^^ 


-M-.5-*^ 


s<y   L<»    ^^"^-s-^ 


VT     RE    MI    FA    SOL   LA    LA    SOL  .   FA    MI    RE    VT 


^0  m^r-^TTT' 


i 


w 


3:-6-^^J-^!_l, 


^^■l^-^vj»|f 


VT  RE  MI   FA  SOL  LA  FA  SOL  LA  LA  SOL  FA  LA  SOL  FA  MI  RE  VT 


!  €Su^ 


.510  HISTORY    OF    THE    SCIENCE       Book  IV. 

*  '^f|«^  3[  commit  t^tt  imto  ||im  tf?at  iiuerf)  for  e\)cr,  tyfio  grant 
*  tpt  iyc  fmg  toitO  our  fjcart^  unto  tfje  glorie  of  i)i^  idolp  name*  oilmen; 

And  to  exemplify  the  rule  above  given,  every  note  of  the  feveral 
tunes  contained  in  this  edition  has  the  adjunct  of  a  letter  to  afcertaia 
the  fol-faing,  as  mentioned  in  the  above  preface. 

After  the  publication  of  this  edition  in  1607,  it  feems  that  the 
company  of  ftationers,  or  whoever  clfe  had  the  care  of  fupplying  the 
public  with  copies  of  thefmging-pfalms,  thought  it  bed  to  leave  the 
rude  and  unlearned  to  themfclves,  for  in  none  of  the  fubfequent  im- 
preffions  do  we  meet  with  either  the  introdudion  to  mufic,  or  the 
anonymous  preface,  or,  in  a  word,  any  direxftions  for  attaining  to 
fmg  by  notes. 


CHAP,  X. 

GREAT  has  been  the  diverfity  of  opinions  concerning  the  meritof 
this  our  old  Englifli  tranflation.  Wood,  in  the  account  given  by 
him  of  Sternhold,  fays  that  {o  much  of  it  as  he  wrote  is  truly  admirable; 
and  there  are  others,  who  refleding  on  the  general  end  of  fuch  a  work, 
and  the  abfolute  ncceflity  of  adapting  it  to  the  capacities  of  the  com- 
mon people,  have  not  hefitated  to  fay  that,  bad  as  it  may  be  in  fome 
refpedis,  it  would  at  this  time  be  extremely  difficult  to  make  a  tranfla- 
tion that  upon  the  whole  fliould  be  better.  Others  have  gone  fo  far 
as  to  affert  the  poetical  excellence  of  this  verfion,  and,  taking  ad^ 
vantage  of  fome  of  thofe  very  fublimepaflages  in  the  original,  which 
are  tolerably  rendered,  but  which  perhaps  no  tranflation  could  pofli- 
bly  fpoil,  have  defied  its  enemies  to  equal  it*.  On  the  other  hand, 
the  general  poverty  of  the  n:yle,  the  meannefs  of  the  images,  and, 
above  all,  the  aukwardnefs  of  the  verf  flection,  have  induced  many 
ferious  perfons  to  wifli  that  we  were  fairly  rid  of  a  work,  that  in 
their  opinion,  tends  lefs  to  promote  religun  than  to  difgrace  that  re- 
formation of  it,  which  is  juftly  efl:eemed  one  of  the  greatefl:  blef- 
flngs  of  this  country. 

^  *  See  ^'Defence  of  the  book  of  Pfalms  collefted  into  FngHfli  metre  by  Thomas  Stern- 
hold,  John  Hopkins,  and  others,  &c.  by  bifhop  Bcv^ridge.    Lond.  17 10. 

An- 


Chap.  10.     AND    PRACTICE    OF    MUSIC.  511 

Another,  but  a  very  different  clafs  of  men  from  thofe  above  enume- 
rated, the  wits,  as  they  ftyle  thcmfelves,  have  been  very  liberal  in  their 
cenfure  of  the  Englifh  verfion  of  the  Pfalms.     Scarce  ever  are  the 
names  of  Sternhold  and  Hopkins  mentioned  by  any  of  them  but  for 
the  purpofe  of  ridicule.     Fuller  alone,   of  all  witty  men  the  beft:   na- 
tured,  and  who  never  exercifes  his  facetious  talent   to  the  injury  of 
any  one,  has  given  an  impartial  character  of  them  and  their  works, 
and  recommended  a  revifion  of  the  whole  tranflation  againft  all  at- 
tempts to  introduce  a  better  in  its  flead  *.    His  advice  was  followed, 
though  not  till  many  years  after  his  deceafe,  for  in  an  impreffion  of 
the  Pfalms  of  Sternhold  and  Hopkins,  printed  in   1696,  we  find  the 
verfion  accommodated  to  the  language  of  the  times,  by  the  fubfti- 
tution  of  well-known  words  and  familiar  modes  of  expreffion  in  the 
room  of  fuch  as  were  become  obfolete,  or  not  intelligible  to  the  ge- 
nerality of  the  common  people.     But  as  the  poet,   whoever  he  was, 
was  at  all  events  to  mend  the  verfion,  its  conformity  with  the  origi- 
|ial,  if  peradventure  he  could  read  it,  could  be  with  him  but  a  fe- 
Gondary  confideration.     Neither  does  it  feem  that  he  was   enough 
acquamted  with  the  Engli(h  language  to  know  that  in  the  alteration 
of  an  old  word  for  a^new,  the  exchange  is  not  always  of  the  worfe 
for  the  better.     Hearne  has  given  fome  Ihrewd  inftances   of  thiS' 
kind  in  the  Glofiary  to  his  Robert  of  Gloucefter -f ,  and  very  many/ 
more  might  be  produced  ;  however  the  firft  eflay  towards  an  emen- 
dation met  with   fo  little  oppofition  from  the   people,  that  almoft 
every  fucceeding  impreffion   of  the  Pfalms  was  varied  to  the  phrafe 
of  the  day ;  and  it  is  not  impoffible  but  that  in  time,  and  by  im- 
perceptible degrsts,  the  whole  verfion  may  be  fo  innovated,  as  fcarce- 
ly  to  retain  a  fingle  ftanza  of  the  original,  and  yet  be  termed  the 
work  of  its  primitive  authors. 

A  hiflory  of  the  feveral  innovations  in  the  metrical  verfion  of  Da- 
vid's Pfalms  is  not  necefl^ary  in  this  place.  It  may  fuffice  to  re- 
mark, that  in  the  firft  imprefllon  of  the  whole  there  is  a  variation 
from  the  text  of  Sternhold  in  the  firft  ftanza  of  the  firft  pfalm,  which. 
in  the  two  editions  of  1549  and  1552  reads  thus: 


*  Church  Hift.  of  Britain,  cent.  XVI.  bookvii,  pag.  406. 

t  Vftcib.  iJcJjet,  vetic. 


C[)e 


512  HISTORY   OF   THE   SCIENCE      BooklV'. 

<^l)t  nitin  i^  hktl  tlfjat  ijatfi  nor  gone 

23p  iuichcb  vchc  afirap, 
^c  fat  in  cljaprc  of  pcffplcncc, 

|5or  toaifitc  in  f^mncr^  Voapc. 

•And  that  the  edition  of  1562  flood  unaltered  till  16B3,  as  appears  by 
Guy's  copy  printed  at  Oxford  in  folio  that  year.  In  1696  many  dif- 
ferent readings  are  found,  the  occafion  whereof  is  faid  to  be  this ;  about 
that  time  Mr.  Nahum  Tate  and  Dr.  Nicholas  Brady  publifhed  a  new 
verfion  of  part  of  the  book  of  Pfalms  as  a  fpecimen  of  that  verfion  of 
the  whole  which  was  afterwards  printed  in  1696.  In  this  ellay  of 
theirs  they,  in  the  opinion  of  many  perfons,  had  fo  much  the  advantage 
of  Sternhold  and  Hopkins, that  thecompany  of  ftationers,  whoare  pof- 
iefled  of  the  fole  privilege  of  printing  the  Pfalms,  took  the  alarm,  and 
found  themfelves  under  a  neceffity  of  meliorating  the  verfion  of  the  lat- 
ter, and  for  this  purpofe  fome  perfon  endued  with  the  faculty  of  rhim- 
ing  was  employed  by  them  in  that  very  year  1696,  to  correal  the  verfi  - 
fication  as  he  (hould  think  proper;  and  fince  that  time  it  has  been 
flill  farther  varied,  as  appears  by  the  edition  of  1726,  but  with  little 
regard  to  the  Hebrew  text,  at  the  pleafure  of  the  perfons  from  time 
to  time  intruded  with  the  care  of  the  publication. 

The  efFedts  of  thefe  feveral  effays  towards  a  reformation  of  the 
Tinging  pfalms  are  vifiblein  the  verfion  now  in  common  ufe,  which 
being  an  heterogeneous  commixture  of  old  and  new  words  and 
phrafes,  is  but  little  approved  of  by  thofe  who  confider  integrity  of 
flyle  as  part  of  the  merit  of  every  literary  compofition,  and  the  re- 
fult  is,  that  the  primitive  verfion  is  now  become  a  fubjecft  of  m.ere 
curiofity.  The  tranflation  of  the  Pfalms  into  metre  was  the  work 
of  men  as  well  qualified  for  the  undertaking  as  any  that  the  times 
tliey  lived  in  could  furnifh  ;  moft  of  thofe  which  Norton  verfified, 
particularly  pfalms  109,  116,  139,  141,  145;  and  104,  119,  and  137 
by  Whittyngham.,  with  a  very  fmall  allowance  for  the  times,  mud 
be  deemed  good,  if  not  excellent  poetry  ;  and  if  we  compare  the 
whole  work  with  the  productions  of  thofe  days,  it  will  feem  that 
Fuller  has  not  greatly  erred  in  faying,  that  match  thefe  verfcs  for 
their  ages,  they  (Iiall  go  abreaft  with  the  beff  poems  of  thofe  times. 

With  refped  to  the  verfion  as  it  ftands  accommodated  to  the  lan- 
guage of  the  prefent  times,  it  may  be  faid,  that  whatever  is  become 

of 


Chap.  I  a.     AND    PRACTICE    OF    MUSIC.  5:13: 

of  the  fenfe,  the  verfification  is  in  fome  inftances  mended;  that  the 
unmeaning  monofyllable  eke,  a  wretched  contrivance  to  preferve  an 
equahty  in  the  meafu re  of  different  verfes,  is  totally  expunged  j  that 
many  truly  obfoletc  words,  fuch  as  hejl  for  command^  mell  for  meddle, 
pight  for  pitched)  Saw  for  Precept,  and  many  others  that  have  gra- 
dually receded  from  their  places  in  our  language,  are  reprobated  ; 
that  many  paiTages  wherein  the  Divine  Being  and  his  adlions  are  re- 
prefented  by  images  that  derogate  from  his  majefty,  as  where  he  is 
faid  to  bruife  the  wicked  with  a  mace,  the  weapon  of  a  giant,  arc 
rendered  lefs  exceptionable  than  before ;  and  where  he  is  expoflu- 
lated  with  in  ludicrous  terms,  as  in  the  following  paflage  : 

30l)p  tiooft  tDitljtiraUj  tgp  Ijann  afiacft, 

anb  gitic  it  in  tf)p  lajrpe, 
#  plucft  it  out  ant>  be  not  flacfe 
to  0iuc  tgp  focja?  a  rajipe  *♦ 
and  this,  which  for  its  meannefs  is  not  to  be  defended  : 
foe  lnt)p  tfjcir:  Ijart^  tocrc  nothing  bent 
to  8im  [God]  nor  to  fji^a?  tralic  f . 
And  where  an  expreffion  of  ridicule  is  too  ftrongly  pointed  tojuf- 
tify  the  ufe  of  it  in  an  addrefs  to  God,  as  is  this  : 
Confounti  tlje m  tljat  appfp, 

anti  fecfee  to  toorfee  nie  fliamc, 
5ilnti  at  mp  fiarmc  bo  Jaugfi,  anb  crp 
fo,  fo,  t^ere  goctf)  tftc  game  {i 
And  where  the  rhymes  are  ill  forted  like  thefe  : 
iSoc  liolD  ije  bib  commit  tfjeir  fcuitjgt 

unto  t§c  catcrpillcr, 
3IInb  aii  tge  labour  of  tiytit  fianb^^ 
6e  gaue  to  tf)c  graftioppcc  §. 
And  thefe  others  : 

rcmembcreb  7     locb       7     remember  7 
offenbeb  ||     \     toot  lb  ^  3     euer  *        J 

In  thefe  feveral   inftances  the  prefent  reading  is  to  be  preferred,- 
but,  after  all  what  a  late  author  has  faid  of  certain  of  his  own  works, 

*  Pfalm  Ixxiv.  verfe  12.         f  Pfalm  Ixxviii.  verfe  37.         :f  Pfalm  Ixx.  verfe  3. 

§  Ffalm  Ixxviii.  verfe 46.  |]  Pfalm  xiii.  verfe  i.  ^  Pfalm  Ixxxiii.  ver.  ult. 

*  Pfaim  cxix.  verfe  49. , 

Vol.. III..  4.B'  -mayy 


514  HISTORY    OF    THE    SCIENCE       Book  IV. 

may  with  equal  truth  and  propriety  be  applied  to  the  language  of  the 
njodern  finging-pfalms.      «  It  not  only  is  fuch  as  in  the  prefent  times 

*  is  not  uttered,   but  was  never  uttered  in  times  paH: ;   and  if  I  judge 
«  aright,  will  never  be  uttered   in   times  future:   it  having  too  much 

*  of  the  language  of  old  times  to  be  fit  for  the  prefent  ;  loo  much  of 

*  the  prefent  to  have  been  fit  for  the  old,  and  too  much  of  both  to 

*  be  fit  for  any  time  to  come.' 

There  is  extant  a  metrical  tranflation  of  the  Pfalms  by  James  J, 
which  v/as  printed,  together  with  the  Common  Prayer  and  Pfalter, 
in  1636,  upon  the  refolution  taken  by  Charles  I.  to  eftablifh  the 
liturgy  in  Scotland  ;  fome  doubt  has  arifen  whether  this  verfion  was 
ever  completed  ;  but,  unlefs  credit  be  denied  to  the  affertion  of  a 
king,  the  whole  murt:  be  allowed  to  be  the  work  of  the  reputed  au- 
thor, for  in  the  printed  copy,  oppofite  the  title-page  is  the  following 
declaration  concerning  it : 
«  Charles  R. 
*  Having  caufed  this  tranflation  of  the  Pfalmes  (v/hereof  our 

*  late  dear  father  was  author)  to  be  perufed,  and  it  being  found 

*  exadly  and  truly  done.     We  do  hereby  authorize  the  fame  to 
**  be  imprinted  according  to  the  patent  granted  thereupon,  and 

*  do  allow  them  to  be  fung  in  all  the  churches  of  our  dominions, 

*  recommending  them  to  all  our  good  fubjeds  for  that  efifetfl.' 

The  Pfalms  have  been  either  totally  or  partially  verfified  by 
fundry  perfons,  as  namely.  Sir  Philip  Sidney,  Chriftopher  Halton, 
H.  Dodd,  Dr.  Henry  King,  bifliop  of  Chichefter,  Miles  Smith,  Dr. 
"Samuel  Woodford,  John  Milton,  William  Barton,  Dr.  Simon  Ford, 
Sir  Richard  Blackmore,  Dr.  John  Patrick,  Mr.  Addifon,  Mr.  Arch- 
deacon Daniel,  Dr.  Jofeph  Trapp,  Dr.  Walter  Harte,  Dr.  Broome, 
and  many  others,  learned  and  ingenious  men,  whofe  tranflations  are 
•either  publiflied  feparately,  or  lie  difperfed  in  colledionsof  a  mifcel- 
laneous  nature.  There  are  alfo  extant  two  paraphrafes  of  the  Pfalms, 
the  one  by  Mr.  George  Sandys,  the  other  by  Sir  John  Denham. 

Thq  foregoing  account  refpeds  folely  the  poetry  of  the  Engli(h 
Pfalms,  and  from  thence  we  are  naturally  led  to  an  enquiry  concern- 
ing the  melodies  to  which  they  now  are,  and  ufually  have  been  fung. 
Mention  has  already  been  made  of  certain  of  thefe,  and  that  they 
were  firfl:  publiflied  in  the  verfion    of  the  Pfalms  by   Sternhold  and 

Hop* 


Chap.  10.     AND    PRACTICE    OF    MUSIC.  515 

Hopkins,  in  the  year  1562,  by  the  name  of  apt  notes  to  fing  them 
withal,  but  as  many  of  them  have  been  altered  and  fophifticated,  a 
few  of  them  are  here  given  as  they  ftand  in  that  edition,  with  the 
numbers  of  the  pfalms  to  which  they  are  appropriated. 


PSAI.  M      I. 


-^- 


^^ 


»         A         ^ ' 


^ 


m 


THE  man   is   Meft  that  bath  not  bent.to    kicked  rede 


±Z=t 


his  eare:nor  led  his  life  as  Tinners  do.  nor  fat  in   fcorners 


3:==»: 


■<r-^ 


M-^ 


36=^ 


s^sf^ 


chaire.  Bu 


.,   In  the  law  of  God  the  T.ord,  doth  fet  liis  whole. 


detieht:  and  in  that  la«e  doth  exercife  him  felf  both  day 


^ 


1^ 


and  night. 


a 


»        9    6- 


PSALM      XIV. 


rl\-i    '!    \'T 


1 


THERE    Is    no    God   as    foolKh    men  affirme  in  their  m.d 


^       ^ 


^^ 


m 


node:         Their    drifts  are   all    corrupt    and   vayn     .i.^t   on.-  of 

4B   2 


5i6  HISTORY   OF   THE    SCIEKCE     EooklV. 


i 


a— ~»    ■  «  =^ 


^ 


:$=t 


:t 


them   doth    gfood.       The  Lord  be-held  -^rom   heauen  hig^h,  the 


^  ■»»<»»     ^-^ 


i 


0        » 


^=^ 


.  whole   race  of  mankind:  and  faw  not   one  that   fought    indeedt 


i 


$ 


^  '  t      ^ "     ^     3 


the  lluing    God    to  finde 


PSALM      XVIII . 


i 


IT"^ 


i 


$ 


^— » 


^        »   ■ 


O  God  my  ftrength  and  fortitude,  of  force  I  muft  loue  thee : 


i 


3S=X 


i 


^  ♦  ^  »   'ZSE 


^JEZZ 


>■ 


Thoa  art  my  caltle  and  defence  in  my  necefsitie.     My  God  my  rocke, 


»        ♦ 


»  »       A 


i 


i 


»     »  V      ^   » 


i 


in  whome  I  truft    the  worker  of  my  vea'Kh:    My  re -fuge  buckler. 


i 


»  ^  »= 


n^^ 


1 — ^■ 

and  my  Ihield,  the  home  of  all  my  health. 


PSALM     LXXII. 


I 


=±=3E 


t=^ 


$ 


^ 


LORD  g"iue  thy  judgments  to  the  king,  therein   inftruct  ^ 


Chap.io.     AND    PRACTICE    OF    MUSIC.  517 


I 


-»— ^ 


$ 


f--     ^       ^ 


$ 


♦- 


him  veil:       And  with  his    Tonne  that    princely  thing   Lord    let 


i 


^ 


$ 


A  ^  t  ^  ^         ^  A 


^m 


35=jS 


thy  juftice   dwell.       That  he   may  g-ouerne   uprightly,  and  rule 


y 


±=3Z 


^ 


t y 


r^^Ti 


$ 


^ r 


thy   folke  aright:       And   fo  defend  through    equity,  the    poore 


J 


^=^ 


m 


that  haue   no  might. 


PS  A  T.  M        CXXIV. 


^    ^      » 


^m 


:^=? 


±=± 


NOW    Ifrael      may    fay    and  that    truely.        If    that    the 


5 


r^ — f 


^     ' 


^ 


-F 


2 


Lord    had    not     our    caufe    malntayned.         If    that     the    I^ord 


^ ^ 


$ 


had    not     our    right    fufteind»        when   all    the    world   again  ft 


IMI    ^      f      V^       »        '      Q- 


t  ^  v/ 


^ 


us    furioully,         made    their    uprores,    and   fayd    we    Hiould 


!i=^^=s 


i 


all    dye, 


5i8  HISTORY    OF    THE    SCIENCE       Book  IV. 

Befides  the  tunes  to  the  pfalms,  there  are  others  appropriated  to 
the  hymns  and  evangelical  fongs,  fuch  as  Veni  Creator,  The  humble 
Suit  of  a  Sinner,  Benedidus,  Te  Deum,  The  Song  of  the  three 
Children,  Magnificat,  Nu^c  dimittis,  Quicunque  vult,  or  the  Alha- 
nafian  Creed,  the  Lamentation  of  a  Sinner,  the  Lord's  Prayer,  the 
Decalogue,  the  Complaint  of  a  Sinner,  and  Robert  Wifdome's 
Prayer,  *  Preferve  us  Lord  by  thy  dear  word  j'  all  which  are  verfified 
and  have  a  place  in  ourcoUedion  of  finging  pfalms. 

The  want  of  bars,  which  are  a  late  invention  *,  might  make  it 
fomewhat  difficult  to  fing  thefe  tunes  in  time,  and  the  rather  as  no 
fign  of  the  mood  ever  occurs  at  the  head  of  the  firft  ftave  j  but  in  ge- 
neral the  metre  is  a  fufficient  guide. 

With  refpedl  to  the  authors  of  thofe  original  melodies,  publiflied 
in  the  more  early  impreflions  of  the  verfion  of  Sternhold  and  Hop^ 
kins,  we  are  fomewhat  to  feek  ;  it  is  probable  that  in  fo  important  a 
fervice  as  this  feemed  to  be,  the  aid  of  the  ableft  profefTors  of  mufic 
was  called  in,  and  who  were  the  mod  eminent  of  that  time  is  eafily 
known  ;  but  before  we  proceed  to  an  enumeration  of  thefe,  it  is  ne- 
cciTary  to  mention  that  fome  of  the  original  melodies  were  indifput- 
ably  the  work  of  foreigners:  the  tunes  to  the  hundreth,  and  to  the 
eighty-firft  pfajms  are  precifely  the  fame  with  thofe  that  anfwer  to 
the  hundreth,  and  eighty-firft  in  the  pfalms  of  Goudimel  and  of  Claude 
le  Jeune  j  and  many  of  the  reft  are  fuppofed  to  have  come  to  us  from 
the  Low  Countries.  It  is  faid  that  Dr.  Pepufch  was  wont  to  aflert 
that  the  hundreth  pfalm-tune  was  compofed  by  Douland  j  but  in 
this  he  was  mifunderftood,  for  he  could  hardly  be  ignorant  of  the 
fad  juft  abovementioned  ;  nor  that  in  fome  collections,  particularly, 
in  thatofRavenfcroft,  printed  in  1633,  this  is  called  the  French  hun- 
dredth pfalm-tune  J  and  therefore  he  might  mean  to  fay,  not  that  the 
melody,  but  that  the  harmony  was  of  Douland's  compofition,  which  is 
true.  But  if  the  inftrtion  of  this  tune  in  the  French  colledioris  be- 
not  of  itfelf  evidence,  a  comparifon  of  the  time  when  it  firft  appear- 
ed in  print  in  England,  with  that"  of  Douland's  birth,  will  go  near  to 

*  The  ufe  of  bars  is  not  to  be  traced  higher  than  the  time  when  the  Englifh  tranflatlon  , 
of  Adrian  ]e  Roy's  book  on  the  Tablature  was  publifhed,  viz,  the  year  1574  ;  and  it  was 
fome  time  after  that,  before  the  ufe  of  bars  became  general.  To  come  nearer  to  the  point, 
Barnard's  Cathedral  Mufic,  printed  in  1641,  is  without  bars;  but  bars  are  to  be  found 
throughout  in  the  Ayres  and  Dialogues  of  Henry  Lawes  publifhed  in  J  653,  from  whence 
it  m^  be  conjedured  that  we  owe  to  Lawes  this  improvement. 

put 


Chap.  lo.     AND    PRACTICE    OF    MUSIC.  519 

put  an  end  to  the  queftion,  and  fhew  that  he  could  hardly  be  the  au- 
thor of  it.  In  the  preface  to  a  work  intitled  *  A  Pilgrimes  Solace/ 
publidiedby  Douland  himfelf  in  16  12,  he  tells  his  reader  that  he  is 
entered  into  the  fiftieth  year  of  bis  age,  and  confequently  that  he  was 
born  in  1563  :  now  the  tune  in  queftion  appears  in  that  colledion  of 
the  finging-pfalms  abovementioned  to  have  been  publidied  in  1577* 
when  he  could  not  be  much  more  than  fourteen  years  old  ;  and  if,  as 
there  is  reafon  to  fuppofe,  the  tune  is  more  ancient  than  iS77>  ^^^® 
difference,  whatever  it  be,  will  leave  him  flill  younger. 

Of  the  muficians  that  flourifhed  in  this  country  about  1562,  the 
year  in  which  the  English  verfion  of  the  Pfalms  vnih  the  mufical 
notes  firfl:  made  its  appearance,  the  principal  were  Dr.  Chriftopher 
Tye,  Marbeck,  Tallis,  Bird,  Shephard,  Parfons.and  William  Mundy, 
all  men  of  eminent  il^:ill  and  abilities,  and,  at  lead  for  the  time,  ad- 
herents to  the  doctrines  of  the  reformation. 

There  is  no  abfolute  certainty  to  be  expeded  in  this  matter,  but  the 
reafon  above  given  is  a  ground  for  conjedure  that  thefe  perlons,  or  fome 
of  them,  were  the  orginal  compofers  of  fuch  of  the  melodies  to  the 
Engli{h  verfion  of  the  Pfalms  as  were  not  taken  from  foreign  collec- 
tions J  it  now  remains  to  fpeak  of  thofe  perfons  who  at  different  times 
compofed  the  harmony  to  thofe  melodies,  and  thereby  fitted  them  for 
the  performance  of  fuch  as  fung  with  the  underftanding. 

The  firfl,  for  ought  that  appears  to  the  contrary,  who  attempted 
a  work  of  this  kind,  feems  to  have  been  Willi  AxM  Damon,  cff  the 
queen's  chapel,  a  man  of  eminence  in  his  profeflion,  and  who  as 
fuch  has  a  place  in  the  Bibliotheca  of  bifhop  Tanner.  He  it  feems  had 
been  importuned  by  a  friend  to  compofe  parts  to  the  common  church 
pfalm- tunes  ;  and  having  frequent  occafion  to  refort  to  the  houfe  of 
this  perfon,he  fo  far  complied  with  his  requeft,  as  while  he  was  there 
to  compofe  one  or  more  of  the  tunes  at  a  time,  till  the  whole  was 
completed,  intending  thereby  nothing  more  than  to  render  them  fit 
for  the  private  ufe  of  him  who  had  firfl  moved  him  to  the  under^ 
taking.  Neverthelefs  this  friend,  without  the  privity  of  the  author, 
thought  fit  to  publifh  them  with  the  following  title  :  *  The  Pfalmes 
«  of  Dauid  in  Englifli  meter,  with  notes  of  foure  partes  fet  unto 
*  them  by  Guilielmo  Daman  for  John  Bull  *,  to  the  ufe  of  the  godly 

*  Called  in  the  preface  Citezen  and  Goldfmith  of  London  ;  this  perfon  could  not  be 
Dr.  Bull,  who  at  this  time  was  but  fixteen  years  of  age.  Ward's  Lives  of  Grelb.  Prof, 
pn^.  208,  in  not. 

<  Chriflians 


5^0  HISTORY    OF    THE    SCIENCE     BooklT. 

*  Chrlftians  for  recreating  themfelves,  inftede  of  fond  and  unfeemely 
«  ballades.'     ^579- 

It  feems  that  neither  the  novelty  of  this  work,  nor  the  reputation, 
of  its  author,  which,  if  we  may  credit  another  and  better  friend  of 
his  than  the  former,  was  very  great,  were  fufRcient  to  recommend  it : 
on  the  contrary,  he  had  the  mortification  to  fee  it  negledted.  For  this 
rcafon  he  was  induced  to  undertake  the  labour  of  recompofing  parts, 
to  the  number  of  four,  to  the  ancient  church-melodies,  as  well  thofe 
adapted  to  the  hymns  and  fpiritual  fongs,  as  the  tunes  to  which  the 
pfalms  were  ordinarily  fung.  And  this  he  completed  in  fo  excel- 
lent a  manner,  fays  the  publifher,  *  that  by  comparifon  of  thefe  and 

*  the  former,  the  reader  may  by  triall  fee  that  the  audtor  could  not 

*  receiue  in  his  art  fuch  a  note  of  difgracc  by  his  friend*s  ouerfight 

*  before,  but  that   now  the  fame  is  taken   away,  and   his   worthy 

*  knowledge  much  more  graced  by  this  fecond  trauaile.'  But  the 
care  of  publifliing  the  Pfalms  thus  again  compofed,  devolved  to  an- 
other friend  of  the  author,  William  S wayne,  who  in  the  year  1 59  r  gave 
them  to  the  world,  and  dedicated  them  to  the  lord  treafurer  Burleigh. 
It  is  not  impoflible  that  either  Damon  himfelf,  or  his  friend  Swayne 
might  buy  up,  or  caufe  to  be  deftroyed  what  copies  of  the  former 
impreflion  could  be  got  at,  for  at  this  day  the  book  is  not  to  be  found. 
This  of  1 59 1  bears  the  title  of  *  The  former  booke  of  the  mafic  of 

*  Mr.  William  Damon,  late  one  of  her  Majefties  muficians,  conteyn- 

*  ing  all  the  tunes  of  Dauid's  Pfalmes  as  they  are  ordinarily  foung  in 
<  the  church,  mofl  excellently  by  him  con^pofed   into  4  parts  j  in 

*  which  fett  the  tenor  fingeth  the  church-tune.     Publifhed  for   the.: 

*  recreation  of  fuch  as  delighte  in   muficke,   by  W.  Swayne,  Gent. 

*  Printed  for  T.  Efte,  the  afllgne  of  W.  Byrd,  1591.' 

The  fame  perfon  alfo  publifiied  at  the   fame   time  with   the  fame- 
title,  *  The  fecond  booke  of  the  muficke  of  M.William  Damon, 

*  containing  all  the  tunes  of  Dauid's  Pfalms,  differing  from  the  for- 
'- mer  in  refpedt  that  the  higheft  part  fingeth  the  church-tune.' 

The  tunes  contained  in  each  of  thefe  colledions  are  neither  more 
nor  lefs  than  thofe  in  the  earlier  impreflions  of  the  Pfalms, .  that  is  to. 
fay,  exclufive  of  the  hymns  and,  fpiritual  fongs,  they  are  about  forty 
in  number;  the  author  has  however  managed,  by  the  repetition  of  the 
words  and  notes,  to  make  each  tune  near  as  long  again  as  it  (lands  in . 
the  original;  by  which  contrivance  it  fhould  feem  that  he  intended 
them  rather  for  private  practice  than  the  fervice  of  the  cliurcb ;  which 

perhaps 
r 


Chap.  10.     AND    PRACJICE    OF    MUSIC,  521 

perhaps  is  the  reafoia  that  none  of  them  are  to  be  found  In  any  of  thofe 
colledions  of  the  Pfahns  in  parts  compofed  by  different  authors, 
which  began  to  appear  about  this  time. 

By  the  relation  herein  before  given  of  the  firft  publication  of  the 
Pfalms  in  metre  with  mufical  notes,  and  the  feveral  melodies  herein 
inferted,  it  appears  that  the  original  mu(ic  to  the  Englifh  Pfalms  was 
of  that  unifonous  kind,  in  which  only  a  popular  congregation  are  fup- 
pofed  able  to  join.  But  the  fcience  had  received  fuch  confiderable 
improvements  about  the  beginning  of  the  feventeenth  century,  and 
the  people  by  that  time  were  fo  much  accuftomed  to  fymphoniac 
harmony,  that  a  facility  in  finging  was  no  longer  a  recommendation 
of  church  tunes. 

At  this  time  cathedral  and  collegiate  churches,  and  above  all,  the 
royal  chapels,  were  the  principal  feminaries  of  muficians.  The  fim- 
plicity  and  parfimony  that  diftinguifhed  the  theatrical  reprefen- 
tations  afforded  no  temptation  to  men  of  that  profeffion  to  de- 
viate from  the  original  delign  of  their  education  or  employment,  by 
lending  their  affiftance  to  the  ffage  j  the  confequcnce  hereof  was, 
that  for  the  moft  part  they  were  men  of  a  devout  and  ferious  turn  of 
mind,  with  leifure  to  fludy,  and  a  difpoiition  to  employ  their  fkill  in 
celebrating  the  praifes  of  their  Maker. 

It  was  natural  for  men  of  this  charader  to  reflect  that  as  much  at- 
tention at  leafl:  was  due  to  the  mufic  of  the  church  as  had  been  (hewn 
to  that  of  the  chamber  ;  the  latter  had  derived  great  advantages 
from  the  ufe  of  fymphoniac  harmony  ;  whereas  the  former  had  been 
at  a  fland  for  near  half  a  century  ;  and  though  It  might  be  a  queftion 
with  fume,  whether  the  finging  of  the  Pfalms  in  parts  v/as  not  in  ef- 
fedl  an  exclufion  of  the  majority  of  every  congregation  in  the  king- 
dom from  that  part  of  divine  fervice ;  it  is  to  be  noted  that  neither 
the  law  nor  the  rubric  of  our  liturgy  gives  any  diredions.in  what 
manner  the  Pfalms  of  David  are  to  be  fung  in  divine  fervice  ;  and 
that  they  had  the  example  of  foreign  churches,  particularly  that  of 
Geneva,  between  which  and  our  own  there  was  then  a  better  under- 
flanding  than  is  likely  ever  to  be  again,  to  authorize  the  pradice. 

In  fhort,  with  a  view  to  promote  the  practice  of  pfalmody,  as  well 
in  churches  as  in  private  houfes,  the  moft  eminent  muficians  of  queen 
Elizabeth's  time  undertook  and  completed  a  collection  of  the  ancient 
church-tunes,  compofed  in  four  parts,  and  in  counterpoint.     In  the 

Vol.  III.  4  C  cxecutioa 


522  HISTORY    OF    THE     SCIENCE       Book.  I V. 

execution  of  which  purpofe  it  is  plain  that  they  had  the  examiple  of 
Goudimel  and  Claude  le  Jeune  in  view  ;  and  that  their  defign  was 
not  an  elaborate  difplay  of  their  own  invention,  in  fuch  an  artificial 
commixture  of  parts,  as  fhould  render  thefe  compofitions  the  admira- 
tion of  the  profoundly  learned  in  the  fcience,  but  an  addition  of  fuch 
plain  and  fimple  harmony  to  the  common  church-tunes,  as  might  de- 
light and  edify  thofe  for  whofe  benefit  they  were  originally  compofed  ; 
and  hence  arofe  the  practice,  which  in  many  country  churches  pre- 
vails even  at  this  day,  of  finging  the  Pfalms,  not  by  the  whole  of  the 
congregation,  but  by  a  few  feledl  perfons  fufficiently  fkilled  in  mufic 
to  fing  each  by  himfelf,  the  part  afligned  him. 

The  names  of  thofe  public-fpirited  perfons  who  firfl:  undertook  the 
work  of  compofing  the  pfalm-tunes  in  parts,  is  preferved  in  a  collec- 
tion, of  which  it  is  here  meant  to  give  more  than  a  fuperficial  ac- 
count,  as  well  on  the  fcore  of  its  antiquity  as  of  its  merit,   namely, 

*  The  whole  booke  of  Pfalmes,   with  their  wonted  tunes  as  they  are 

*  fung  in  churches,  compofed  into  foure  parts  by  X  ibndry  authors; 

*  imprinted  at  London  by  Thomas  Eft,  1594.'  Thefe  authors  were 
John  Douland,  E.  Elancks,  E.  Hooper,  J.  Farmer,  R.  Allifon,  G. 
Kirby,  W.  Cobbold,  E.  Johnfon,  and  G.  Farnaby,  who  in  the  title- 
page  are  faid  to  have  *  fo  laboured  in  this  worke  that  the  unfkilful  by 

*  fmall  pradice  may  attaine  to  fing  that  part  which  is  fitteft  for  their 

*  voice  *.' 

The  book  is  very  neatly  printed  in  the  fize  and  form  of  a  fmall  oc- 
tavo, with  a  dedication  by  the  printer  Thomas  Eft  to  Sir  John  Puck- 
ering, knight,  lord  keeper  of  the  great  feal  of  England,  wherein  we 
are  tojd,  *  that  in  the  booke  the  church-tunes  are  carefully  correded, 

*  and  other  {hort  tunes  added,  which  are  fung  in  London,  and  moft: 

*  places  of  this  realme.' 

The  former  publications  confifting,  as  already  has  been  mentioned, 
of  the  primitive  melodies,  and  thofe  to  the  amount  of  forty  only, 
gave  but  one  tune  to  divers  pfalms  j  this  of  Eft  appears  to  be  as  co- 
pious as  need  be  wiftied,  aird  to  contain  at  leaft  as  many  tunes  as 
there  are  pfalms,  all  of  which  are  in  four  parts,  in  a  pitch  for  and 
with  the  proper  cliffs  to  denote  the  cantus,  altus,  tenor,  and  bafs, 

*  In  the  title-page  Eft  is  defcribed  as  dwelling  in  Alderfgate-ftreet,  at  the  fign  of  the 
Black  Horfe.  He  therein  ftyles  himfelf  the  afri!:^ne  of 'vVilliam  Bird,  who  with  Tallis, 
as  before  obferved,  had  a  joi  il  patent  from  queen.  Elizabeth  for  the  fole  printing  of  muGc. 
Tail's  dietl  iirft  and  this  patent,  the  firft  of  the  kind,  furvived  to  Bird,  who  probably 
for  a  valuable  confideration  might  affign  it  to  Eft. 

as 


Chap.  10.     AND    PRACTICE    OF    MUSIC.  523 

as  ufual  in  fuch  compofitlons.  It  is  to  be  obferved,  that  throughout 
the  book  the  church-tune,  as  it  is  called,  holds  the  place  of  th.e 
tenor  ;  and  as  the  ftriidlure  of  the  compofitions  is  plain  counterpoint, 
the  additional  parts  are  merely  auxiliary  to  that,  which  for  very  good 
reafons  is  and  ought  to  be  deemed  the  principal. 

It  may  here  be  proper  to  remark,  that  although  in  thefe  tunes  the 
church-tune  is  (Iridlly  adhered  to,  fo  far  as  relates  to  the  progrefllon 
of  the  note?,  yet  here  for  the  firft  time  we  meet  with  an  innovation, 
by  the  fubPiituting  femitones  for  whole  tones  in  almoft  every  inftance 
where  the  clofe  is  made  by  an  afcent  to  the  final  note  j  or,  in  other 
words,  in  forn:iing  the  cadence  the  authors  have  niade  ufeof  the  fharp 
fcventh  of  the  key  ;  which  is  the  more  to  be  wondered  at,  becaufe 
in  vocal  compofitions  of  a  much  later  date  than  this,  we  find  the  con- 
trary pra(!tice  to  prevail  ;  for  though  the  coming  at  the  clofe  by  a- 
whole  tone  below  be  extremely  cfFenfive  to  a  nice  ear,  and  there 
feems  to  be  a  kind  of  necefllty  for  the  ufe  of  the  acute  fignature  to 
the  note  below  the  cadence,  yet  it  feems  that  the  ancient  conipofers, 
who  by  the  way  made  not  fo  free  with  this  charader  as  their  fuccef- 
fors,  particularly  thecompofers  of  inftrumental  mufic,  left  this  mat- 
ter to  the  finger,  trufting  that  his  ear  would  dired  him  in  the  utter- 
ance to  prefer  the  half  to  the  whole  tone. 

But  thefe  compofitions,  however  excellent  in  themfelves,  were 
net  intended  for  thofe  alone  whofe  (kill  in  the  art  would  enable  them 
to  fing  with  propriety  ;  they  were,  though  elegant,  fimple  ;  in  {hort, 
fuited  to  the  capacities  of  the  unlearned  and  the  rude,  who  fung 
them  then  jud  as  the  unlearned  and  the  rude  of  this  day  do. 

If  then  it  was  found  by  experience  that  the  common  ear  was  not  a 
fufficicnt  guide  to  the  true  finging  of  the  ancient  melodies,  it  was 
very  natural  for  thofe  who  in  the  tajl^  they  had  undertaken  oF  com- 
pofing  parts  to  them,  were  led  to  a  rcvifal  of  the  originals  by  the 
infertion  of  the  charader  abovementioned,  to  redify  an  abufe  in  the 
exercife  of  pfaim- finging,  which  the  authors  were  not  aware  of,  and 
ccnfequsntly  had  not  provided  againft. 

About  five  years  after  the  publication  of  the  Pfalms  by  Ert, 
there  appeared  a  colledion  in  folio,  entitled,  *  The  Pfalmes  of 
"   Dauid  in  meter,   the   plaine    fong  beinge    the  common   tune  to   be 

*  fung  .  and    plaide  upon    the    lute,    orpharion,    cittcrne,     or    bafe 

•  violl,  feverally    or  altogether,    the  finging   part   to  be   either   te- 

4  C  2        ^^"'  '  '  nor 


524  HISTORY    OF   THE    SCIENCE      Book  17. 

*■  nor  or  treble  to  the  inflrument,  according  to   the  nature   of  the 

*  voyce  ;  or  for  foure  voyces,   with  tenne  (hort  tunes  in   the  end,  to 

*  which  for  the  moft  part  all  the  pfalmes  may  be   ufually    fung,   for 

*  the  ufc  of  fuch  as  are  of  mean  fkill,  and  whofe  leyfure  leafl  ferveth 

*  to  pradiz^.  By  Richard  Allifon,  Gent.  prad:itioner  in  the  art  of 
'  muficke,  and  are  to  be  folde  at  his  houfe  in  the  Dukes  place  neerc 

*  Aldgate.       Printed    by  William  Barley,  the    affigne   of  Thomas. 

*  Morley,  1599,  cum  privilegio  regis  majeHatis.' 

The  above  book  is  dedicated  *  to  the  right  honourable  and   moft 

*  virtuous  lady  the  lady  Anne  countefle  of  Warwicke.'  Immediately 
following  the  dedication  are  three  copies  of  verfes,  the  firft  by  John 
Douland,  bachelor  of  muficke  -,  the  fecond  a  fonnet  by  William 
Leighton,  efquire,  afterwards  Sir  William  Leighton,  and  the  third 
by  John  Welton,  all  in  commendation  of  the  author  and  his  moft 
excellent  worke.  This  colledlion  being  intended  chiefly  for  chamber 
pradice,  the  four  parts  are  fo  difpofed  in  the  page,  as  that  four  per- 
fons  fitting  round  a  table  may  fing  out  of  the  fame  book  j  and  it  is  ob- 
fervable  that  the  author  has  made  the  plain-fong  or  church-tune  the 
cantus  part,  which  part  being  intended  as  well  for  the  lute  or  cittern, 
as  the  voice,  is  given  alfo  in  thofe  charaders  called  the  tablature, 
which  are  peculiar  to  thofe  inftruments. 

There  are  no  original  melodies  in  this  coUedion  :  the  author  con- 
fining himfelf  to  the  church-tunes,  has  taken  thofe  of  the  hymns  and 
Spiritual  fongs  and  pfalms  as  they  occur  in  the  earlier  editions  of  the 
verfion  by  Sternhold  and  Hopkins. 

To  this  colledion  of  Allifon  fucceeded  another  in  162  r,  with  the 
title  of  *  The  whole  book  of  Pfalmes  v/ith  the  hymnes  euangelicall 

*  and  fongs  fpirituall,   compofed  into   four  parts   by  fundry  authors, 

*  to  fuch  feuerall  tunes  as  haue  beene  and  are  ufually  fung  in  Eng- 

*  land,  Scotland,  Wales,  Germany,   Italy,   France,  and  the  Nether- 

*  lands.  By  Thomas  Ravenfcroft,  Bachelar  of  Muficke,'  in  which  is 
inferted  the  following  lift  of  the  names  of  the  authors  who  compofed 
the  tunes  of  the  pfalms  into  four  parts :   *  Thomas  Tallis,  John  Dou- 

*  land,  dodor  of  Muficke  *,  Thomas  Morley,  bachelar  of  Muficke, 
0*  Giles  Farnaby,   bachelar  of  Muficke,    Thomas  Tomkins,  bache- 

*  lar  of  Muficke,  John  Tomkins,  bachelar  of  Muficke,  Martin  Pier- 

*  fon,  bachelar  of  Muficke,  William  Parfons,  Edmund  Hooper,  George 

,     *  In  the  Fafti  Oxon.  it  is  noted  that  Douland  was  admitted  to  a  bachelor's  degree  at 
O)^ford,  8  July  1588,  but  it  does  not  appear  that  he  was  ever  created  do6lor. 

*  Kirby, 


ehap.  10.     AND     PRACTICE    OF    MUSIC.  525 

*  Kirby   Edward  Blancks,  Richard  Allifon,  John  Farmer,  Michael  Ca- 

*  uendifh,  John  Bennet,  Robert  Palmer,  John  Milton,  Simon  Stub^s. 
«  William  Cranford,  William  Harrifon,  and  Thomas  Ravenfcroft  the 

*  compiler.'  t        t  • 

In  this  colleaion,  as  in  that   of  Eft,  the  common  church-tune  is 
the  tenor  part,   which,  for  diftindion  fake,   and  to  (liew  ir.  .re-emi- 
•nence  over  the  reft,  it  is  here  in  many  inftances  called  the  tenor  or 
plain-fong,  and  not  unfrequentl^  tenor  or  faburden  *.     Some  of  the 
tunes  in  the  former  colledion,  as  that  to  the  fixth  pfalm  by  George 
Kirby,  that  to  the  eighteenth  by  William  Cobbold,   and  that   to  the 
forty-firft   by  Edward  Blancks,  are   continued  in  this  1  but  the  far 
greater  part  are  compof.d  anew,  and  many  tunes  are  added,  the  me- 
lodies whereof  are  not  to  be  found  in  any  other  colleaion  ;  and  here 
we  have  the  origin  of  a  pradice  refpeding  the  names  of  our  common 
church  tunes,  that  prevails  among  us  to  this  day,  namely  the  diftm- 
guifhing  them   by  the  name  or  adjun^  of  a  particular  city,  as  Can- 
terbury,  York,   Rochefter,   and   many  others.     It  was  much  about 
the  time  of  the  publication  of  this  book  that  king  Charles  I.  was  pre- 
vailed on  by  the  clergy  to  attempt  the  eftabliftiment  of  the"  liturgy  m 
Scotland  ;  and  perhaps  it  was  with  a  view  to  humour  the  people  of 
that  kingdom  that  fome  of  thefe  new-compofed  tunes  were  called  by 
the  names  of  Dumferling,  Dundee,  and  Glafgow. 

Among  the  new  compcfed  tunes  in  this  colledion,  that  is  to  fay 
fuch    as  ^have    new   or  original   melodies,  the   compofition   of   the 
author    whofe     name    they    bear,    is    that    well-known   one  called 
York-tune,    as  alfo  another   called  Norwich-tune,  to  both  where- 
of is    prefixed   the   name  John  Milton  ;  this   perfon    was  no   other 
than  the  father  of  our  great  poet   of  that   name.     The  tune  above 
fpoken  of  called  York-tune,  occurs  in  four  feveral  places  m  Ravenf- 
croft's  book,  for  it  is  given  to  the  twenty-feventh,  fixty-iixth,  and 
one  hundred   and  thirty-eighth  pfalms,  and  alfo  to  a  prayer  to  the 
Holy  Ghoft,  among  the  fpiritual  fongs  at  the  end  of  the  book;   but 
it   is  remarkable  that  the  author  has  chofe  to  vary  the  progreffion  ot 
the  notes  of  one  of  the  parts   in  the  repetition  of  the  tune;  fof  the 
medius,  as  it  ftands  to   the  words    of  the  one  hundred  and  thirty- 
eighth  pfalm,  and  of  the  prayer  abovementioned,   is  very  different: 
from  the  fame  part  applied  to  thofe  of  the  twenty-feventh  and  fixty- 

flXth.  .         .  ,    „  „    n.r 

•  Of  the  termFABURDEK,  fee  an  explanauon  in  vol.  11.  pag-  245. 

Although 


526  HISTORY   OF   THE   SCIENCE     Book  IV. 

Although  the  name  of  Tallls,  to  dignify  the  work,  ftands  at  the 
head  of  the  lid  of  the  perfons  who  compofed  the  tunes  in  this  collec- 
tion, the  only  compofition  of  his  that  occurs  in  it  is  a  canon  of  two 
parts  in  one,  to  the  words  *  Praife  the  Lord  O  ye  Gentiles  j'  and 
many  of  the  tunes  in  Allifon's  colledion  are  taken  into  this.  Ravenf- 
croft  was  a  man  of  great  knowledge  in  his  profcflion,  and  has  difco- 
vered  little  lefs  judgment  in  feleding  the  tunes  than  the  authors  did 
in  compollng  them  *. 

Ravcnfcroft's  book  was  again  publifhed  in  1633,  and  having  paflcd 
many  editions,  it  became  the  manual  of  pfalm-fingers  throughout  the 
kingdom.;  and  though  an  incredible  number  of  colledioiis  of  this 
kind  have  from  time  to  time  been  publillied,  the  compilations  of 
thofe  illiterate  and  conceited  fellows  who  call  themfelves  finging- 
mafters  and  lovers  of  pfalmody,  and  of  divine  mufic,  yet  even  at 
this  day  he  is  deemed  a  happy  man  in  many  places,  who  is  mafler 
of  a  genuine  copy  of  Raven fcroft's  pfalms. 

The  defign  of  publilliing  the  Pfalms  in  the  manner  above  related 
was  undoubtedly  to  preferve  the  ancient  church-tunes  ;  but  notwith- 
ftanding  the  care  that  was  taken  in  this  refpe-ft,  the  fame  misfortune 
attended  them  as  had  formerly  befallen  the  ecclefiaflical  tones;  and 
to  this  divers  caufes  contributed,  for  firfl:,  notwithftanding  the  pains 
that  had  been  taken  by  the  publication  of  the  Introdudion  into  the 
Science  cf  Mufike,  prefixed  to  the  earlier  copies  of  the  Pfalms  in 
metre,  to  inftrud;  the  common  people  in  the  pradice  of  finging, 
thefe  indrudions  were  in  fad  intelligible  to  very  few  except  the  mi- 
nider  and  parish  clerk,  for  we  grofly  miftake  the  matter  if  we  fuppofe 
that  at  thst  time  of  day  many  of  thecongregation  befides,  could  under- 
fland  them.    In  confequence  of  this  general  ignorance,  the  knowledge 

»  It  is  in  this  colledlion  of  Ravenfcroft  that  we  firft  meet  with  the  tunes  to  which  the 
Pfalms  are  now  moft  commonly  fung  in  the  parifh  churches  of  this  kingdom  ,  for  except- 
ing thofe  to  the  eighty-fifft,  hundredth,  and  hundied  and  ninteenth  pfalms,  the  ancient 
raelodies  have  given  place  to  others  of  a  newer  and  much  inferior  compofition.  The  names 
of  thefe  new  tunes,  to  give  them  in  alphahctical  order,  are,  Bath  and  Wells  or  Glaflon- 
bury,  Briflol,  Cambridge,  Canterbury,  Chichefter.Chrift'shofpital,  Ely,  Rxerer,  Glouv:eiler,. 
Hereford,  Lincoln,  Litchfield  and  Coventry,  London,  Norwich,  Oxford,  Peterborough, 
Rochcfter,  Salilhury,  Wincheller,  Windfor  or  Eaton,  Worcefter,  Wolverhampron  ; 
and,  to  give  what  are  ftyled  northern  tunes,  in  the  fame  order,  they  are  Carlifle,  Chef- 
4er,  Durham,  Manchefter,  Souihvvell,  and  York.  The  Scottiih  tunes  are  Abbey  tune, 
Duke's,  Dumferling,  Dundee,  Glafgow,  Kings  and  Martyrs;  and  the  Welch,  St. 
Afaph,  Bangor,  St.  David's,  Laiidaff,  and  Ludlow  :  fo  that  the  antiquity  of  thefe  may  be 
traced  ba.k  to  the  year  1621. 

of 


Chap.  10.       AND    PRACTICE    OF    MUSIC.  527 

of  n^ufic  was  not  fo  difTeminatcd  among  them  hut  that  the  poor  and 
ruder  fort  fell  into  the  ufual  miftakc  of  flat  for  fharp  and  (harp  for  fiat; 

Another  caufc  that  contrihuted  to  the  corruption  and  confequent 
dlfufe  of  the  church  tunes,  was  the  little  care  taken  in  the  turbulent 
and  diflradled  times  immediately  following  the  accellion  of  Charles  L 
to  appoint  fuch  perfons  for  parilh-clerks  as  were  capable  of  difcharg- 
ing  the  duty  of  the  office.  The  ninety-firfl:  of  the  canons,  made  in 
the  year  1603,  had  provided  that  parifii-clerks  fhould  be  fufficient  in 
reading  and  writing,  and  aifo  of  competent  fkill  in  finging  ;  but  it  is 
well  known  that  inftead  of  rendering  obedience  to  canons,  thofe  who 
at  that  time  were  uppermoft  denied  their  efficacy.  Nay,  in  cafes 
where  a  reafon  for  the  omiffion  of  a  thing  was  wanting,  it  was 
thought  a  good  one  to  fay  that  the  doing  it  was  enjoined  by  the  au- 
thority of  the  church. 

The  recognition  of  the  office  of  a  pariffi-clcrk  by  the  church,  and 
its  relation  to  pfalmody,  naturally  lead  us  to  enquire  into  the  nature 
of  that  fundion,  and  the  origin  of  the  corporation  of  pariffi-clerks 
which  has  long  exifted  in  London.  Anciently  parifh-clerks  were 
real  clerks,  but  of  the  poorer  fort  ;  and  of  thefe  every  minifter  had 
at  leaft  one,  to  affirb  under  him  in  the  celebration  of  divine  offices^ 
By  a  conftitution  of  Boniface  archbifhop  of  Canterbury,  A.  D.  1261, 
45  Hen.  III.  it  is  ordained  that  the  officer  for  the  holy  water  fhall  be 
a  poor  clerk  ;  and  hence  a  poor  clerk  officiating  under  the  minifter  is 
by  the  Canonifts  termed  Aquasbajulus,  a  water-bearer.  In  the  Re- 
gider  of  archbifhop  Courtney  the  term  occurs;  and  notwithftanding 
he  was  maintained  by  the  parishioners,  he  was  appointed  to  the  office 
by  the  rninifler;  and  this  right  of  appointment,  founded  on  the  cuf- 
tom  of  the  realm,  is  there  declared,  and  has  in  many  inftances  been 
recognized  by  the  common  law.  The  offices  in  which  the  clerk  was 
anciently  exercifcd  muft  be  fuppofed  to  have  refpeded  the  church^ 
(ervice,  ag  the  carrying  and  fprinkling  holy  water  unqueitionably  did.; 
and  we  are  farther  told  that  they  w^rre  wont  to  attend  greit  funerals, 
going  before  the  hearfe,  and  finging,  with  their  furplices  hanging  on 
their  arms,  till  they  came  to  the  church.  Neverthelefs  we  find  that 
in  the  next  century  after  making  the  above  conftitution,  they  were 
employed  in  miniftring  to  the  recreation,  and  it  may  perhaps  be  faid 
in  the  indrudion  of  the  common  people,  .by  the  ejihibition  of  thea- 
trical 


528  HISTORY    OF    THE    SCIENCE       Book  IV. 

trical  fpedacles  ;  and  as  touching  thefe  it  feems  here  neceffary  to  bc^ 
fomewhat  particular. 

And  firft  we  are  to  know  that  in  the  infancy  of  the  Englifh  drama 
the  people,  inftead  of  theatrical  (hews,  were  wont  to  be  entertained 
with  the  reprefentation  of  fcripture  hiftories,  or  of  fome  remarkable 
events  taken  from  the  legends  of  faints,  martyrs,  and  confefTors  3  and 
this  fadt  is  related  by  Fitz-Stephen,  in  his  defcription  of  the  city  of 
London,  printed  in  the  later  editions  of  Stow's  Survey,  in  thefe  words: 

*  Lundonia  pro  fpsftaculis  theatralibus,  pro  ludis  fcenicis,  ludos  ha- 

*  bet  fandiores,    reprefentationes   miraculorum,   qus  fandi  Confef- 

*  fores  operati  funt,   feu  reprefentationes  Paffionum,  quibus  claruit 

*  conftantia  Martyrum.' 

*  The  fame  author,  fpeakingof  the  Wells  near  London,  fays  that  on 
the  north  fide  thereof  is  a  well  called  Clarks-Well  ;  and  Stow,  affign- 
ing  the  reafon  for  this  appellation,  furnifhes  us  with  a  curious  fa6t 
relating  to  the  parifh-clerks  of  London,  the  fubjedt  of  the  prefent 
enquiry;  his   word^  are  thefe:   *  Clarks-well  took  its  name  of  the 

*  parlfh-clerks  in  London,  who  of  old  time  were  accuftomed  there 
yearly  to  aflemble,  and  to  play  fome  large  hiftory  of  holy  fcripture 
for  example,  of  later  time,  to  wit,  in  the  year  1 390,  the  14th  of  Ri- 
chard the  Secondj  I  read  that  the  pari (li- clerks  in  London  on  the 
I  8th  of  July  plaid  Enterludes  at  Skinners-well  near  unto  Clarks-well, 

*  which  play  continued  three  days  together,  the  king,  queen,  and 
'  nobles  being  prefent.     Alfo  in  the  year  1409,  the  tenth  of  Henry 

*  the  fourth,   they  played  a  play  at  the  Skinners-well,  which  lafted 

*  eight  days,  and  was  of  matter  from  the  creation  of  the  world  ;  there 

*  were    to    fee    the  fame  mofl  part  of  the  nobles   and  gentiles    in 

*  England*.' 

It  is  to  be  remarked  that  Fitz-Stephen  does  not  fpeak  of  the  ading 
of  hiriories  as  a  new  thing,  for  the  pafTage  occurs  in  his  account  of 
the  fports  and  paftimes  in  common  ufe  among  the  people  in  his  time; 
and  therefore  the  antiquity  of  thefe  fpedacles  may  with  good  reafon 
be  extended  as  far  back  as  to  the  time  of  theConqueft.  Of  this  kind 
of  drama  there  are  no  fpecimens  extant  fo  ancient  as  the  reprefenta- 
tion firft  above  fpoken  of,  but  there  are  others  in  being,  of  fomewhat 
lefs  antiquity,  from  which  we  are  enabled  to  form  a  judgment  of 
their  nature  and  tendency. 

'*  Survay  of  London,  410.  1603,  t^^S'  ^S* 

The 


Chap.  10.    AND    PRACTICE    OF    MUSIC.  529 

The  anonymous  author  of  a  dialogue  on  old  plays  and  old  players, 
printed  in  the  year  1699,  fpeaks  of  a  manufcript  in  the  Cotton  li- 
brary, intitled  in  the  printed  catalogue  *  A  Colledtion  of  Plays  in  old 
*  Englifh  Metre*;'  and  conjectures  that  this  may  be  the  very  play 
which  Stow  fays  was  adled  by  the  parifh-clerks  in  the  reign  of 
Henry  IV.  and  took  up  eight  days  in  the  reprefentation  j  and  it  mull 
be  confefled  that  the  conjedure  of  the  author  abovementioned  feems 
to  be  well  warranted.  By  the  charadler  and  language  of  the  book  it 
feems  to  be  upwards  of  three  hundred  years  old :  it  begins  with  a 
general  prologue,  giving  the  arguments  of  forty  pageants  or  gefticu- 
lations,  which  are  as  fo  many  feveral  adts  or  fcenes  reprefenting  all 
the  hiftories  of  both  Teflaments,  from  the  creation  to  the  chufing  of 
St.  Matthias  to  be  an  apoftle.  The  ftories  of  the  New  Teftament  arc 
more  largely  related,  viz.  the  Annunciation,  Nativity,  Vifitation, 
the  Paffion  of  our  Lord,  his  Refurrecflion  and  Afcenfion,  and  the 
choice  of  St.  Matthias.  After  which  is  alfo  reprefented  the  Affump- 
tion  and  Laft;  Judgment.  The  ilyle  of  thefe  compofitions  is  as  Am- 
ple and  artlefs  as  can  be  fuppofed ;  nothing  can  be  more  fo  than  the 
following  dialogue: 

MARIA. 

55ut  8ujSBanti  of  a  tldpiij  pmp  pou  moHf  mchclp, 
3i  ftauc  hnotDing  tgat  pour  cofpn  CUfafictg  toirjj  ci^iM  i0, 
(^\)at  it  picafc  poiu  to  go  to  fjci:  6a(tpljj : 
%t  ou0l)t  toe  mpSt  comfort  l^cr  it  tocrc  to  mc  6Ip^. 

JOSEPH. 

%  45otitipj^  falftc  i^  ^e  toitfi  cfjilti,  ff)e  ^ 
€5an  totn  fiir  fju^ftantj  Eacjarp  &c  mcrp ; 
3[n  a^ontanc  tftcp  titodlc,  far  gcitccc  fo  mot  pt  he 
g[n  ti)c  citp  of  giutia,  3[  ftiioto  it  ucrilp ; 
5!t  i^  Jcncc  5i  trotoc  mpic^  ttuo  a  fiftp, 
Wt  are  iihe  to  {le  lucrp  or  toe  come  of  tfic  fame ; 

*  Sir  William  Dugdale,  in  his  Antiquities  of  Warwickfhire,  pag.  ii6,  cites  It  by  the 
title  of  Lucius  CoventrJK.  The  following  is  the  title  as  it  ftauds  in  theCatalogus  Libror. 
Manufcript.  Biblioth.  Cotton,  pag.  113.*  VIII.  AColle£lion  of  Plays  in  old  Englifli  Metre, 

*  h.  e.  Dramata  facra,  in  quibus  exhibentur  hiftorix  veteris  &  N.  Teftamenti  introducfli* 

*  quafi  in  fccnam  perfonis  illic  memoratis,  quas  fecum  invicem  coUoqucntes  pro  ingenio 

*  fingit  Poeta  videntur  olim  coram  populo,  five  ad  inflruendum  five  ad  placendum,  a  fra- 

*  tibus  mendlcantibus  reprvefentata,' 

Vol.  III.  4D  3ltooIc 


5^o  HISTORY    OF    THE    SCIENCE     BooklV. 

31  tDoJc  tDitU  a  gocti  IcpIK  Blcitpti  ttjpft  O^arp 
I^oUj  00  toe  fowl)  t][jcn  in  <6otitip^  name,  ^c 

A  little  before  the  Refurredion. 

Nunc  dormient   milites  et  veniet  anima   Chrifti  de   inferno,  cum 
Adam  &  Eva,  Abraham,  John  Baptift,  6c  aliis. 

ANIMA    CHRIST  I. 

Come  fottlj  311  bam  anti  €iic  toitlj  tge, 
SCnti  all  mp  ftpentieiS  tliat  fjercxn  6c 
g[n  parabpfc  come  fort^  toitli  me, 

2[n  felplTe  for  to  tJtoell : 
€l)e  fentie  of  Ijell  tl^at  ija?  pour  foo, 
^t  ttiaW  ht  torapppi!  antj  toountipn  in  tooe, 
fro  too  to  tocltlj,  noto  (Jail  pc  go, 
Wit^  mprtl)  euer  mo  to  melle.. 

ADA  M. 

5t  tljanK  tlje  Sorb  of  t"^^  grete  grate, 
€6at  noto  i^  forgiuen  mp  gret  trefpace, 
l^oto  n)all  toe  btoell  pn  ftlpf^ful  place. 

The  laft  fcene  or  pageant,  which  reprefents  the  day  of  Judgment-,, 

begins  thus  : 

MICHAEL.. 

Surgite,    31111  men  arpfe, 
Venite  ad  judicium, 
for  noto  i^  Cct  tlie  Ijigl)  juRice, 
SUnti  Jatl)  affignpts  tlje  bap  of  borne  ; 
i$cpe  pou  rebplp  to  tl|i^  grctt  alTpfe,, 
•J^otlj  grett  anb  fmall,  all  anb  fum, 
lainb  of  pour  anftocr  pou  noto  abuife, 
tt^ljat  poto  (5all  fap  togcn  tliat  poto  come,  $c» 

Myfteries  and  moralities  appear  to  have  conftituted  another  fpecies^ 
of  the  ancient  drama  j  the  firft  feem  to  have  been  reprefentations  of 
the  moft  interefting  events  in   the  gofpel-hiftory ;  one  of  this  kind, 
intitled  Candlemas-Day,  or  the  Killing  of  the  Children  of  Ifrael,  is 
among  the  Bodleian  manufcripts,  and  was   bequeathed  to  the  uni- 

veriity; 


Chap.  10.     AND    PRACTICE    OF    MUSIC.  531 

verfity  by  Sir  Kenelm  Digby  j  the  name  of  its  author  was  Jhan  Par- 
fre,  and  it  appears  to  have  been  compofed  in  the  year  151 2. 

The  fubjed:  of  this  drama  is  tragical,  notwithftanding  which  there 
are  in  it  feveral  touches  of  that  loiv  humour,  with  which  the  com- 
mon people  are  ever  delighted;  for  in  it  the  poet  has  introduced  a 
fervant  of  Herod,  whom  he  calls  Watkyn  the  melTenger.  This 
fellow,  who  is  reprefented  as  cruel,  and  at  the  fame  time  a  great 
coward,  gives  Herod  to  underftand  that  three  ftrangers,  knights,  as 
he  calls  them,  had  been  to  make  coffins  at  Bethlehem  ;  upon  which-. 
Herod  fwears  he  will  be  avenged^  upon  Ifrael,  and  commands  four 
of  his  foldiers  to  flay  all  the  children  they  fhall  find  within  two  years 
of  age  ;  which  Watkyn  hearing,  intreats  of  Herod  firft  that  he  may 
be  made  a  knight,  and  next  that  he  may  be  permitted  to  join  the- 
foldiers,  and  affift  them  in  the  flaughter.  This  requeft  being  granted,. 
a  paufe  enfues,  the  reafon  whereof  will  be  beft  underflood  by  the 
following  ftage-diredion  :  ^ttc  tfie  ftnpgl|ti6f  tDalfte  aBoiigFjt  tIjepJace 
tin  Sl^arp  anti  Sfofcplj  bt  conmictx  into  C^gxpt. 

Mary  and  Jofeph  are  then  exhorted  by  an  angel  to  fly,  and  they 
lefolve  on  it.     The  fpeech  of  Jofeph  concludes  thus  : 

SH^art?,  poll  to  t>o  pkafaiincc  tBitfjoiit  aitp  kt, 
31  (Sail  bcpngc  fortf)  pouc  alTc  U^itjiout  more  tielap, 
f  ul  foone  lai^arp  tftcrcon  pe  l^ail  i^e  fctt, 
^Cnti  t\^i^  litcl  t\^m  tjjat  in  pouc  hjomlie  \a^, 
f^ahc  fjpm  in  pour  m:mp^  Si^arp  g[  pou  prap, 
2lnb  of  pour  fiuctc  mplhc  let  tjim  fotohc  inotoe. 
^atogcr  i^cccUJb  anb  fti^  Qtctt  frap  : 
anti  as?  pour  fpoufe  JH^arp  g[  f^aH  go  toitfi  pou, 

€W  fcrtiell  of  gerc  3[  {cp  upon  mp  haMc ; 
l^oto  3[  am  retip  to  go  from  tfji.sf  cuntre, 
mi  nip  fmale  innrument^  i^  put  in  mp  pafe&c. 

|5oiX)  go  tDc  gcn^,  sr^arp  it  toili  no  ticttcr  iie, 
for  tiretic  of  If crotob  apaa^  g[  ][)igj)  me ; 
Ho  noU)  ijS  our  gccr  trufTcb  Isotfj  more  anH  IclTe,, 
.     Q^arp  for  to  plcfe  pou  hJitF)  all  fjumplite, 
35  fjall  go  before,  anti  letie  fortlj  pour  aitc. 

Ef"  exeunt.. 

Then. 


532  HISTORY    OF    THE    SCIENCE      BooklV. 

Then  begins  the  flaughter,  reprefented  in  the  following  dialogue. 

1  MILES. 

^crlic,  pc  topffp^,  tuc  ht  come  pout:  gouffiolb  to  tJifite, 
Cfioug!)  pc  he  ncbci:  fo  tDcotft  noir  Inooti, 
Wit"^  (Jarpc  ftooortisf  tJjat  rcticlfp  topii  h^tt, 
%\\  pour  ctjpibrcn  \i}it\iin  to  pcar^  age  in  out  cruel  moob 
<Cl)ur0l)e  out  all  2S>etf|lecm  to  feplle  anti  fjcti  tljer  pong  6I00& 
^0  tnc  lie  liounti  to  tl)e  commauntiement  of  tge  hing, 
Wi)o  tljat  fcitl)  nap,  toe  ffiall  mafte  a  ffooti 
€0  renne  in  tgc  Hrcti^  6p  tljer  Iilooti  (Jetipng. 

2  M  I  L  E  S 

(Cljcrcfor  unto  u^  mahe  pe  a  tielpuerancc 

<0f  pour  pong  ci^tlbren  anti  tljat  anon ; 

<©r  e\l^  Be  JiUBaljountie  toe  fliall  geue  a  mpfcljaunce, 

<0ur  tjarjie  ftocrb^  tljurgg  pour  ftobie^  (gall  goon* 

W  A  T  K  Y  N. 

€6crfor  fee  toare  for  toe  topll  not  letjc  oon 
^n  all  tljiisf  cuntre  tfiat  fgall  u^  efcaiac, 
gi  fjall  rather  ffee  tljcm  euerpcl)  oon, 
5llnb  niahe  tjcm  to  Ipe  anti  motoe  lihe  anaj>e. 

1  M  U  L  I  E  R. 

5rpc  on  pou  traitor^  of  cruel  tormentrpe, 
il^iclje  \3yitf^  pour  ftocrHiS?  of  mortall  biolen^sf— 

2  M  U  L  I  E  R. 

<j^ur  poung  cljilbren  tljat  can  no  focoure  hut  crie, 
?l2:ipll  ITe  anti  tiebour  in  rljer  innocent, 

3  M  U  L  I  E  R. 

ic  falfe  traitoriB?  unto  »^oti  pe  tio  grete  offenja? 
€0  Hee  anti  morticr  pong  cl)iltiren  tljat  in  tljc  cratiell  Humfeer  j 

4  M  U  L  I  E  R. 

55ut  toe  toomcn  fgall  mahe  agepnisf  pou  refilfenigf, 
^ftcr  our  potoer  pour  malpcc  to  encomticr. 

W  A  T  K  Y  N. 

^ea^  pou  folpfje  tjjucnp^,  toga  (Juulti  pou  bcfentie, 
^gepuisf  n^  arntpti  men  in  t\^i0  ajiparailc  ^ 

mt 


€hap.  lo.     AND    PRACTICE    OF    MUSIC.  533 

Wc  lie  fioKtr  men  anti  tl)e  ftpng  us?  ht^  fcnbc, 
^tt)^t  into  t^i^  tuntrc  to  ^oM  ttJitlj  poii  Iiattailc. 

I     M  U  L  I  E  R. 

f  pe  upon  tf^ct  cofcDarD :  of  tljcc  g[  tDill  not  failc, 
€0  DubBe  t6ce  ftnygfit  UJitg  mp  rohhc  rountif , . 
flDomcn  he  fcrfc  Ixj^cn  tljci  U(!  to  alTaile 
J^ucFie  pcoutic  fiope^  to  calic  to  tf^z  grounbe. 

2     M  U  L  I  E  R. 

$(luaunt,  pe  ^sfhotntpje?,  3[  bifpc  pou  cticrpc^  one, 
for  f  toole  Jjetc  pou  aU  mpfdf  alone. 

[Watkyn  Iiicoccldet  per  Cq*. 
I'   M  U  L  I  E  R. 

SHra^,  ala^  gooti  cofpncjsf,  tftt^  i^  a  forotufuU  vtv^x 
<^o  k  out  ticrc  cljilbccn  t^at  fecfo  pong, 
ll^itS  tl^efe  ta^^t^ut^  tf^ii^  foticpnip  to  lie  llapn ; 
^  uengeaunce  %  a^kt  on  tgem  ail  for  tf^i^  grctt  Uirong. 

2    M  U  L  I  E  R. 

!3Inti  a  uerp  inpfelief6  mut  cmm  tgcm  amongc, 

H^gerfo  cuer  tljci  he  cmne  or  goon, 

for  rljci  gaue  hillcb  mp  pong  fone  5[ol)n; 

3     M  U  L  I  E  R, 

<(5o(Tippii9r,  a  (iiamefull  tietli  3|  a^he  upon  i^erotobc  our  hpng,, 
€Sat  tgUiSf  rpgoroulTp  our  cliplttren  gatft  Oapn, 

4.  M  U  L  I  E  R. 

51  Plt^^P  '^J5ti  lirpng  Ijpm  to  an  ille  cnbpng, 
0nti  in  fjclle  pptte  to  tiltjelle  eucr  in  p:pn» 

WATKYN. 

W^at  pe  jjarlottiEf  ^  31  tjaue  afpicti  certepn 
€l)at  pe  fie  tratorp*^  to  mp  lorb  tljc  fepng, 
Stnti  tgerfor  %  am  fure  pe  fjall  fiaue  an  ille  enbpng, . 

1  M  U  L  I  E  R. 

3f  pe  afiibc,  ItDathpn,  pou  anb  3[  ^all  game. 
Wit^  mp  biHaffc  tfjat  i^  fo  rountie* 

2  M  U  L  I  E  R. 

3Cnti  pf  3[  fea^,  tljanne  Ijaut  5[  f^ame, 
(^pll  tl)u  fie  fellib  boton  to  tlje  grountje. 

Vol.  III.  4.P.  3  M  U- 


534  HISTORY    OF    THE    SCIENCE     Book  IV. 

3    M  U  L  I  E  R. 

31! lit!  5[  map  gctc  t^t  Mtim  mp  ^^o^intJe, 
'Will)  t'^i^  ttat^e  5[  (fsali  make  t^te  lamt. 

WAT  K  Y  N.  ■ 

^01*  if  1  tsa,  met!jpnlictfj"3[  (f5an  Sc  ma^c  tame, 

I     M  U  L  I  E  R. 

3ll)jptjc,  ^viati^pn,  31  l^aH  mauc  tfjcc  a  Ritpggt 

W  A  T  K  Y  N. 

':r!>u  maJie  mc  a  hnpgfjt !  rljat  toere  on  rljc  itctoe 
55i!t  for  ftjavne  mp  tcout!|c  31  pen  piiQU> 
3f  fiiutJ  liscte  ponr  Ijal^  ani5  fitsc  tpl!  U  \Btxc  Mt\^t, 
^nt  ht  mp  get  3^a||oiint!C  tgat  i^  fa  true, 
$I©p  ttert  Scgpnnc  to  fapk  an^  isjarctfi  fcpttt, 
0t  t\i0  ht  2l9a||ount!S?  feioatJ  pc  (f^ul^  it  iiic, 
50iit  pe  ffeall  lofc  pciii*  gocts^  ajs?  traitor^  attepnt. 

I    M  U  L  I  E  R. 

tl^l^at  tim  jcibdi,  canCr  not  fjaue  bo  ^ 
Ciju  ants  tlji  cumpanp  f^aH  not  tscpact, 
CpH  of  out-  tiiltaup^  pc  Ijaue  false  part : 
Cljcrfor  Jcp  en  golTigipe^^  ItsitJ)  a  merp  S^irt, 
l^nti  Ictt  tgcm  not  from  U0  goo. 

^crc  t?ici  tjall  fecte  3Bat%n,  anb  tfie  Unpg'^t^  ffaH  come  to 

rcfcue  ^pm,  an&  t!|an  tfiei  go  to  ]^crobj&.^  fioii^. 

Of  Moralities,  a  fpecies  of  the  drama  diiFerlng  from  the  former, 
there  are  many  yet  extant,  the  titles  whereof  may  be  feen  in  Ames*s 
Typographical  Antiquities  ;  the  befc  known  of  them  are  one  entitled 
Euery  Man,  Luflie  Juventus,  and  Hycke  Scorner,  an  accurate  ana- 
lyfis  of  which  latter,  Dr.  Percy  has  given  in  his  Reliques  of  ancient 
Englifli  Poetry,  vol.1,   pag.  130.  * 

That  fuch  reprefentations  as  thefe,  namely,  hlftories,  myfterles,  and 
moralities,  were  frequent,  we  may  judge  from  the  great  number  of 
them  yet  extant,  and  from  the  fondnefs  which  the  people  of  this 
country  have  ever  manifefted  for  theatrical  entertainments  of  all  kinds; 
and  that  the  parifli-clerks  of  all  other  perfons  fliould  betake  them- 
selves to  the  profeflion  of  players,  by  exhibiting  fuch  as  thcfe  to  the 

public. 


Chap.  I o.     AND    PRACTICE    OF    MUSIC.    .  535 

public,  wtll  not  be  wondered  at,  when  it  is  remembered  that  befides 
themfelves,  few  of  the  laiety,  excepting  the  lawyers  and  phyficians, 
were  able  to  read;  and  it  might  be  for  this  reafon  that  even  the  priefts 
themfelves  undertook  to  perfonate  a  character  in  this  kind  of  drama. 
Of  the  fraternity  of  pariQi-clerks,  Strypc,  in  his  edition  of  Stowe's 
Survey,  book  V.  pag.  231,  gives  the  following  account:  *  They  were  a 

*  guild  or  fraternity  firft  incorporated  by  K.  Hen.  III.  known  then  by 

*  the  name  of  the  brotherhood  of  St.  Nicholas,  whofe  hall  was  near  St. 
Helens  by  Bifliopfgate  ftreet,  within  the  gate,  at  the  fign  of  the  An- 
gel, where  the  parifli-cleiks  had  feven  alms-houfes  for  poor  clerks' 

■*  widows,  as  Stow  (hews.  Unto  this  fraternity  men  and  women  of 
the  firfl:  quality,   ecclefiaftical  and  others,  joined   themfelves,   who 

*  as  they  were  great  lovers  of  church-mufic  in  general,  fo  their  bene- 
ficence unto  pariQi-clerks  in  particular  is  abundantly  evident,  by 
fome  ancient  manufcripts   at  their  common    hall  in  Great  Wood 

'*  flreet,  wherein  foot-fteps  of^their  great  bounty  appear  by  the  large 
gifts  and  revenues  given  for  the  maintenance  and  encouragement  of 

*  fuch  as  fhould  devote  themfelves  to  the  fludy  and  pradice  of  this 
«  noble  and  divine  fcience,  in  which  the  parifli-clerks  did  then  excel!, 

finging  being  their  peculiar  province. 
*  Some  certain  days  in  the  year  they  had  their  public  feafts,  which 

*  they  celebrated  with  finging  and  mufic,  and  then  received  intotbeir 

*  fociety  fuch  perfons  as  delighted  in  finging,  and  were  (ludious  of  it. 

*  Thefe  their  meetings  and  performances  were  in  Guildhall  college  or 

*  chapel.  Thus  the  27th  of  September,  1560,  on  the  eve  thereof 
they  had  even-fong,  and  on  the  morrow  there  was  a  communion  ; 
and  after  they  had  retired'  to  Carpenters-hall  to  dinner.  And  May  1 1 , 

1562,  they  kept  their  communion  at  the  faid  Guildhall  chapel,  and 
received  feven  perfons  into  their  brotherhood,   and  then  repaired  to 

*  their  own  hall  to  dinner,  and  after  dinner  a  goodly  play  of  the  chil- 

*  dren  of  Weftminfler  with  waits  and  regals  and  finging. 

.  *  King  Charles  I.  renewed  their  charter,  and  conferred  upon  them 

*  very  ample  privileges  and  immunities,  and  incorporated  them  by  the 

*  fiylc  and  title  of  the  Mafter,   Wardens,  and  Fcllowfiiip  of  Paridi- 

*  Clerks,  of  the  city  and  fuburbs  of  London  and  the  liberties  thereof, 

*  the  city  of  Weflminfter,  the  borough  of  Southwark,  and  the  fifteen 

*  out-parifiies  adjacent.' 

End  of  the  Third  Volume. 


M 


3k;  •^^* 


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